UMASS/AMHERST 


31EDbt.    DID?    T4ET    t. 


MYER 
THE  VOCAL   INSTRUCTOR 


WERFEL 
COLLECTION 


SCORE 

MT 
825 
M94 
1918 


DATE  DUE 

UNIVERSITY  LIBRARY 

UNIVERSITY  OF  MASSACHUSETTS 

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SCORE 

MT 
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M94 
1918 


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THE 

VOCAL 

INSTRUCTOPv 

BY 

EDMUND   J.    MYEFk 

PHILADELPHIA,  PA. 

THEO.    PRESSEPv    CO. 

1712  CHESTNUT  STREET 

Copyright,  1913,  by  Theo.  Presser  Co. 
Copyright,  1918,  by  Theo.  Presser  Co. 


British  Copyright  Secured 


REMARKS 


The  vocal  profession  today  is  as  much  in  need  of  definite,  logically  formulated  systems  of 
study  as  it  ever  or  always  has  been.  The  training  of  the  singer  from  the  musical  or  artistic 
standpoint,  thfc  art  of  song,  is  one  thing;  the  training  of  the  singer  or  student  from  the  technical  or 
voice  development  standpoint,  the  science  of  voice,  is  quite  another  thing. 

This  work  is  a  practical,  conamon-sense  system  based  upon  nature's  laws  or  demands  for  the 
study  and  development  of  the  staging  voice — principle  following  priaciple  in  logical  sequence. 

It  is  a  fact  born  of  experience;  of  many  years  studio  experience  in  New  York  City  and  of  the 
National  Smnmer  School  for  Singers  and  Teachers  on  Lake  Chautauqua  and  Round  Lake,  New 
York.     It  is,  in  fact,  an  evolution. 

The  main  object  of  this  work  is  to  give  to  the  vocal  profession,  for  the  first  time  in  print, 
the  movements  upon  which  the  whole  system  is  based :  the  stunts,  the  singing  movements,  the 
physical  exercises,  d,nd  the  nerve  callisthenics.  These  movements  develop  the  siager  physically 
and  vocally.  They  strengthen  weak  throats,  weak  adjustment,  weak  chests,  weak  control, 
and  weak,  um"uly  nerves. 

Man  has  a  dual  nature — mind  and  body,  mental  and  physical.  The  singer  is  more  than  a 
man.  He  has  a  threefold  nature — physical,  mental,  and  emotional;  body,  mind,  and  soul; 
but  few  are  equally  or  co-ordinately  developed  in  these  three  attributes.  Most  systems  neglect 
the  instrument,  the  individual,  and  think  of  tone  or  voice  only.  They  also  attempt  to  use  the 
singing  voice  without  the  technic  of  singing;  hence  physical,  mental,  and  emotional  depression. 
Depression  is  today  the  greatest  and  most  prevailing  error  in  the  vocal  world.  The  study  of 
the  way,  the  way  of  doing,  is  at  first  a  thousand  times  more  important  than  the  study  of  the 
tone.     When  the  way  is  right  the  tone  always  comes  right. 

Today  we  know  and  understand  the  phenomena  of  voice  as  never  before.  By  the  phenomena 
of  voice  we  mean  the  movements,  the  adjustment  of  the  parts,  the  conditioiis  which  prevail  dur- 
ing the  act  of  correct  tone  production.  A  constant  study  of  the  phenomena  of  voice  has  lead 
to  the  development  of  the  movements — I  might  better  say  the  discovery  of  the  movements — 
which  we  call  the  singer's  position  and  action.  These  movements  are  a  study  and  development 
of  self.  They  develop  all  the  forces  of  the  singer — ^physical,  mental,  and  emotional — and  thereby 
induce  indirectly  or  automatically  all  true  conditions  of  tone.  In  order  to  make  their  study  easy 
and  definite  we  use  the  simplest  exercises. 

There  is  no  strength  properly  applied  except  through  movement.  A  static  condition  means 
local  effort,  and  local  effort  means  artistic  defeat. 

PART  I 

PHYSICAL 

A  study  of  the  movements. 

A  study  of  technic. 

A  study  of  the  two  great  physical  forces — ^motor  power  and  control. 

PART  II 

MENTAL 

A  study  of  physical  and  mental  energy  combined. 
A  study  of  the  influence  of  mind  over  matter. 
Singing  is  more  mental  than  physical. 

3 


PART  III 

EMOTIONAL 

A  study  of  emotional  power  and  energy;  the  inner,  higher  nature  of  the  singer;  the  singer's 
sensation. 

A  study  of  the  third  power,  the  only  power  the  scientifically  trained  and  truly  gref\t  singer 
knows. 

Singing  is  more  mental  than  physical  and  more  emotional  than  mental. 

Every  correct  and  successful  vocal  system  or  method  is  based  upon  principle,  theory,  and 
device;  upon  a  fundamental  principle,  a  theory  founded  upon  that  principle,  and  the  devices 
used  for  the  study,  development,  and  mastery  of  the  principle.  Of  course,  it  is  impossible  in  this 
work  to  give  theory  and  device  in  full.  The  interested  student,  the  seeker  after  the  truth, 
will  find  everything  given  in  detail  in  the  books  hereafter  referred  to. 

Edmund  J.  Myeb. 

This  instructor  is  founded  upon  the  principles  given  in  Mr.  Myer's  works  or  books,  as  follows; 
"Truths  of"  Importance  to  Vocalists,"  1883;  "The  Voice  From  a  Practical  Standpoint,"  1886; 
"Vocal  Reinforcement,"  1891;  "Position  and  Action  in  Singing,"  1897;  "The  Renaissance  of 
the  Vocal  Art,"  1902. 


PAET    I 


PHYSICAL 

The  First  Principle 

The  first  great  fundamental  principle  of  artistic  tone  production  is  freedom.^  the,  removal  of 
all  restraint. 

Theory 

Correct  tone  is  the  result  CFf  certain  conditions — conditions  that  are  in  nature,  conditions 
demanded  by  nature.  These  conditions  are  the  result  only  of  correct  form  and  adjustment. 
Form  and  adjustment  to  be  right  must  be  automatic,  and  never  the  result  of  direct  or  local  effort 
or  influence. 

Devices 

The  devices  are  the  studies  which  follow. 

Conditions 

1.  Free,  Hexible,  vitalized  bodily  position  and  action.     (Energy  instead  of  effort.) 

2.  Natural  or  automatic  adjustment  of  all  the  parts,  especially  the  organ  of  sound — the 
larynx. 

3.  Automatic  form  and  inflation  of  all  the  resonance  cavities,  the  great  reinforcing  power. 

4.  Approximation  of  the  breath  bands,  the  false  vocal  chords,  the  great  natural  controlling 
force. 

5.  Equal  pressure  and  resistance  of  the  two  great  physical  forces,  motor  power  and  control. 

6.  Automatic  articulation. 

7.  Physical^  mental,  and  emotional  energy'  or  vitality  combined;  the  body,  mind,  and  soul 
in  action. 

A    STUD?    OF  THE    MOVEMENTS   OF    THE    SYSTEM 

The  Singer's  Position  and  Action 

Study  the  Stunts  and  the  Singing  Movement  slowly  and  carefully.  Think  out  and  work  out 
each  numbered  line  or  paragraph  before  going  on  to  the  next.    The  movements  are  very  simple 

but  very  definite.  It  is  difficult  for  the  student  or  singer  to 
realize  how  simple  and  natural  they  are, — to  realize  that  tlirough 
them  he  does  freely  and  naturally  those  things  which  the  aver- 
age student  believes — or  is  made  to  believe — he  must  do  by  con- 
scious local  effort;  to  realize  that  they  induce  all  true  conditions 
of  tone  through  automatic  form  and  adjustment.  They  com- 
pletely change  the  average  singer's  viewiroint  of  free,  beautiful 
tone  by  arousing  new  sensations  through  correct  thought,  feeling 
and  action.  They  develop  the  true  technical  production  and  con- 
trol of  artistic  tone. 


6"^ 


A— B 


A   STUDY  OP  THE  MOTOR   POWER 

Stunt  No.  1. 

1.  Stand  in  an  easy,  natural  position,  weight  on  one  ioot 
(either  one). 

3.  Place  hands  and  arms  as  indicated  in  Figure  No.  1  by 
A-A,  pahns  up,  elbows  touching  the  hips. 

3.  Move  hands  and  arms  easily  to  position  indicated  by 
B-B  and  back  again.  No  effort,  no  rigidity,  the  center  of  thought 
and  action  at  the  elbows. 

Note. — Always  keep  the  palms  of  the  hands  up  and  so  level 

that  water  in  them  would  not  spill.     If  the  arms  turn  or  twist, 

the  influence  is  lost.    Hands  and  elbows  must  move  in  parallel  lines.    If  the  hands  swing  out  and 

back  faster  and  farther  than  the  elbows,  the  movement  is  of  little  value.    Do  not  move  the  elbowfi 


FiGUBE  No.  1. 


VI 

out  more  than  four  or  five  inches.     When  sure  that  this  movement  is  correct  and  natural,  then 
study  Paragraph  No.  4. 

N.  B. — The  way  of  doing  at  first  is  a  thousand  times  more  important  than  the  tone.  Wheu 
the  way  is  right  the  tone  always  comes  right. 

4.  Stand  in  an  easy,  natural  position,  weight  on  one  leg  or  foot.  The  kaee  of  the  other  leg 
will  naturally  and  automatically  bend.  Now  let  the  elbows  say  to  the  hips  as  they  move  out, 
"Follow  us," — a  definite  mental  suggestion.  This  is  the  movement  we  are  after,  the  outward 
automatic  free  movement  of  the  hips.     Move  the  elbows  four  or  five  inches  only. 

5.  As  the  elbows  move  out,  straighten  the  bent  knee,  easily  and  slowly,  and  think  and  feel 
the  hips  moving  out  with  the  elbows ;  elbows  and  hips  moving  together  rhythmically  as  one.  The 
knee  straightens  when  moving  out  and  bends  on  the  return  movement.  Do  this  movement  easily 
and  naturally  and  until  it  becomes  an  automatic  right  habit.  An  imaginary  line  around  the 
body  midway  between  the  hips  and  the  thigh  indicates  the  center  of  activity  of  this  movement. 
There  will  not  be  much  movement  of  the  hips,  but  there  will  be  a  full,  free  movement  of  expan- 
sion of  all  the  muscles  mentioned  below. 

K.  B. — Do  not  let  the  body  sway  to  the  right  or  to  the  left  and  do  not  shift  the  weight  from 
the  firm  foot  to  the  bent  knee,  leg,  or  foot  when  moving;  it  stiffens  every  muscle  of  the  body, 
causes  rigidity  and  makes  success  impossible.  There  must  be  no  local  pulling  in,  pushing  out  or 
gripping  of  the  muscles,  especially  of  the  diaphragm  or  of  the  abdominal  muscles,  so  common  with 
singers  and  teachers  but  which  is  a  direct  violation  of  Nature's  laws.  Think  of  movement,  of 
action,  of  gesture,  but  not  of  muscle. 

Note. — This  movement  automatically  brings  into  action  the  abdominal  muscles,  the  dia- 
phragm, the  intercostal  muscles  and  the  dorsal  muscles,  co-ordinately.  These  combined  as  one 
in  movement  constitute  the  motor  power,  the  driving  force  of  the  voice.  They  must  be  made 
to  do  team  work  and  it  can  be  done  only  by  free,  flexible  movement,  never  by  conscious  local 
effort  or  control. 

A   STUDT   OF   THE    CONTEOLLING   FORCE 

Stunt  No.  2. 
Q  Q  All  singers  are  naturally  stronger  in 

the  drive  or  motor  power  than  in  the 
control  or  resisting  force.  This  is  due 
to  several  causes  or  conditions,  princi- 
pally to  a  wrong  direction  of  effort  due 
to  a  wrong  direction  of  thought. 

We  read  many  articles  on  breathing 
in  singing,  but  seldom  anything  definite 
on  the  question  of  control,  the  impor- 
tant but  much  neglected  side  of  this 
great  subject.  Students  are  taught  to 
place  the  tone  up  and  forward  with- 
out any  idea  of  correct  resistance  or 
control.  Eesult,  a  pushed-up  larynx. 
Under  these  conditions  they  are  com- 
pelled to  use  throat  muscles  in  control 
and  often  the  larynx  itself, — ^muscles 
that  should  never  be  used  as  resisting 
or  controlling  muscles  in  singing.  Na- 
ture compels  this  in  order  to  save  the 
voice  from  immediate  strain.  In  this 
way  the  voice  or  the  instrument  is  un- 
seated and  the  tone  purely  muscular.  A 
correct  technical  training  of  the  voice  consists  in  developing  the  control  to  equal  the  drive, — equal 
pressure  and  resistance,  which  means  poise,  freedom,  ease  and  beauty  of  tone. 


Figure  No.  2. 


vn 

1.  Stand  in  an  easy,  natural  position,  weight  on  both  feet.  Extend  the  hands  and  arms  later- 
ally, hands  open,  fingers  straight,  palms  down  as  indicated  by  A- A  in  Figure  No.  2. 

2.  Let  the  hands  swing  down  easily,  freely  and  quickly  to  B.  Bend  the  knees  a  little  as 
the  hands  swing  down,  but  do  not  let  the  body  bend  forward. 

3.  Let  the  hands  overlap  naturally  a  little  at  the  knees  (B)  and  bring  them  up  quickly  with 
a  free  swing  towards  the  chin  (C).  As  they  approach  the  chin  the  finger  tips  touch,  plams  down, 
hands  open  flat.    The  open  hand  means  life,  vitality. 

4.  As  the  hands  approach  the  chin  slow  up  the  movement,  but  do  not  stop  them  at  the  chin, 
retard  only.  Then  move  them  up  and  out  slowly,  always  slowly,  to  D-D,  describing  a  slow,  full, 
high  arch.  When  they  reach  D-D,  swing  them  down  again  quickly,  past  A-A  to  B,  and  thus 
repeat  the  movement  a  number  of  times. 

5.  When  the  movement  becomes  free,  easy  and  natural,  let  the  palms  of  the  open  hands  say 
to  the  chest  in  passing  slowly  from  C  to  D-D,  "Follow  us" — a  definite  mental  suggestion.   The' 
chest  should  then  lift,  expand  and  follow  the  hands  up  and  out,  freely  and  naturally.    No  rigid- 
ity, no  local  effort.    This  is  the  movement  we  are  after, — the  free  movement  of  the  chest. 

Note. — The  hands  suggest  the  movement  to  the  chest.  The  movement  of  the  hands  and  the 
movement  of  the  chest  must  be  rythmical,  as  one  movement,  a  most  important  point.  Think  of 
free  movement,  of  gesture,  not  of  muscle.  Practice  ■  this  until  it  becomes  a  right  habit.  This 
movement  brings  into  action  automatically  the  chest  and  all  of  the  muscles  of  the  back  co-ordi- 
nately. These  combined,  together  with  the  approximated  breath  bands  (The  false  vocal  chords) 
when  the  instrument  is  in  artistic  adjustment,  constitute  the  controlling  power  or  resisting  force 
of  the  voice.  This  controlling  force  when  properly  developed,  when  equal  to  the  driving  force, 
relieves  the  throat  of  the  necessity  of  all  local  effort  and  makes  possible  the  desired  free,  spon- 
taneous, beautiful  tone.  No  singer  can  fully  appreciate  the  value  of  correct  automatic  control 
until  he  has  mastered  it. 

N.  B. — The  way  of  doing  at  first  is  a  thousand  times  more  important  than  the  tone.  When 
the  way  is  right  the  tone  always  comes 'right. 


A   STUDY   OF  THE   SINGING   MOVEMENT 

Motor  Power  and  Controlling  Force  Combined- 

After  having,  to  a  certain  extent,  mastered  the  two  preceding 
movements,  then  take  up  the  study  of  this,  the  Singing  Move- 
ment, the  movement  we  always  use,  in  this  system,  in  producing, 
developing  and  controlling  tone.  This  movement  is  practically  the 
famous  "Singer's  Position  and  Action."  Approach  this  movement 
slowly  and  carefully.  The  student  or  singer  who  works  it  out  cor- 
rectly, who  practices  it  until  it  becomes  automatic,  until  it  becomes 
a  part  of  self,  has  mastered  or  overcome  all  technical  troubles  in 
the  production,  development  and  control  of  tone,  especially  the 
control.  This  principle  of  control  means  automatic  breathing  and 
absolute  automatic  breath  control  which  is  a  godsend  to  every  singer 
who  masters  it.  This  singing  movement  when  mastered  does  prac- 
tically everything  for  the  singer. 

1.  Stand  in  an  easy,  natural  position,  weight  on  one  foot, 
hands  and  arms  hanging  by  the  side  (never  front)  as  indicated  by 
A-A  in  Pigue  No.  3. 

2.  Turn  the  palms  of  the  hands  out  slowly  by  a  turn  of  the 
wrist  and  forearm.  Point  the  fingers  out  and  down  at  an  angle 
of  about  forty-five  degrees.  Always  point  out  from  the  sides  of 
the  body,  never  towards  the  front;  always  keep  the  palms  up  and 

out,  and  not  the  backs  of  the  hands.    Palms  up  means  life  and  energy. 

3.  Move  the  hands  out  and  back  to  B-B  until  the  movement  becomes  easy  and  natural,  but 


Figure  No.  3. 


Vlll 

never  more  than  five  or  six  inches.     If  the  hands  are  moved  too  far,  the  movement  will  be  of 
little  value. 

4.  Standing  on  one  leg  or  foot,  knee  of  other  leg  bent,  let  the  hands  say  to  the  body,  the 
hips  and  the  chest,  "Follow  us"  a  definite  mental  suggestion. 

5.  Move  the  hands  out  as  suggested,  slowly  straighten  the  bent  knee,  and  feel  as  though  the 
body  were  lifted  up  and  out  on  the  open  palms. 

6.  Bring  the  hands,  hips,  chest  and  bent  knee  into  action  rhythmically  and  co-ordi- 
nately as  one  movement.  N"o  rigidity,  no  efi'ort.  At  the  suggestion  of  the  movement  by  the  hands, 
make  the  body  light  and  flexible  in  moving  up  and  out,  but  do  not  sway  to  the  right  or  to  the 
.left. 

When  moving  do  not  shift  the  weight  from  one  foot  to  the  other ;  it  stops  the  movement  of 
the  hips — so  important — and  makes  every  muscle  of  the  body  more  or  less  rigid. 

WoTE. — The  success  of  this  movement  lies  in  bringing  into  action,  in  a  very  flexible  way,  the 
two  forces,  the  motor  power  and  the  controlling  force  as  studied  in  the  two  preceding  movements. 
The  object  is  to  develop  co-ordination  of  the  two  physical  forces,  equal  pressure  and  resistance, 
life,  energy,  vitality,  freedom,  automatic  breathing  and  automatic  breath  control.  This  movement 
is  not  a  conscious  local  effort;  it  is  an  eloquent  gesture  of  the  body.  Think  of  free,  flexible  move- 
ment, and  not  of  muscle.  When  the  movement  is  right,  all  muscular  action  comes  right  automat- 
ically. ISTature  takes  care  of  this.  Think  of  it!  Trust  the  movements!  Give  them  a  chance! 
You  will  never  know  their  great  value  or  their  wonderful  influence  on  the  voice  in  every  way 
until  you  have  mastered  them,  until  they  become  a  habit,  until  they  become  automatic.  Practico 
them  very  much  without  tone. 

]Sr.  B.- — The  tendency  in  studying  this  movement  is  to  move  the  hands  too  fast  and  too  far. 
When  doing  so  all  influence  over  the  body  and  the  tone  is  lost.  Hands  and  body  must  move 
rhythmically  as  one. 

Eejiahk. — In  the  production  of  tone  and  the  development  of  the  voice  there  is  no  strength 
properly  applied  except  through  free,  flexible  movement. 

A    STUDY    OF    ONE    SINGLE    TONE 

The  foundation  of  all  successful  voice  development  is  the  correct  production  of  one  single 
tone.  The  first  start  of  tone  is  the  most  difficult  thing  the  student  has  to  master.  A  correct 
single  tone  means  practically  aU  true  conditions  of  tone. 

Put  yourself  and  keep  yourself,  by  the  use  of  the  movements,  on  a  level  with  the  tone.  The 
tendency  of  the  great  majority,  even  among  the  so-called  "trained,"  is  to  be  constantly  below  the 
level  of  the  tone,  below  the  demands  of  the  tone.  Nature's  demands  physically,  mentally  and  emo- 
tionally. Hence  physical,  mental  and  emotional  depression,  the  prevailing  great  error  of  the  vocal 
world. 

A    STUDY    OP    THE   LEVEL    OF    THE    TONE 

Start  of  tone  aA  or  ha  B, Level  oTtone    ^c  £„<!  ^f  tone 

/ 


A      4      Repose  D  — « End  of  movement 

Dlagkam    Kg.    1 

If  the  voice  is  free  or  relaxed,  sing  Ah.     If  tight  and  muscular,  sing  Ha.     The  H  releases 
the  throat. 

Formula  for  the  application  of  the  singing  movement : 


lAft — expand — let  go. 


IX 

Lift  a  little  at  the  hips,  expand  the  entire  "body  without  effort,  and  let  go  or  release  every- 
thing above  the  chest.  (See  "The  Eenaissance,"  page  57.)  These  three  thoughts  in  one — lift, 
expand,  let  go — are  combined  in  one  easy,  free,  flexible  movement,  all  occurring  the  same  in- 
stant, and,  when  right,  are  the  perfection  of  the  singing  movement. 

The  lift  arouses  vitality.    The  expansion  means  applied  strength  and  support. 

The  Let  Go  Means  Freedom 

1.  Stand  in  an  easy,  natural  position  in  repose  as  indicated  by  A  in  Diagram  No.  1,  weight 
on  one  foot. 

3.  By  the  use  of  the  singing  movement,  hands  and  all,  move  up  the  dotted  line  in  a  free, 
easy  manner  to  B.  Move  quickly  by  impulse,  not  by  effort.  Straighten  the  bent  knee,  but  do 
not  shift  the  weight  from  one  foot  to  the  other  when  moving. 

3.  The  instant  the  level  of  B  is  reached,  sing  a  tone  on  the  vowel  Ah  or  Ha,  about  the 
middle  of  the  compass  of  the  voice.  Let  the  voice  sing;  do  not  compel  it.  Sing  by  impulse. 
Do  not  take  a  conscious  or  a  sub-conseiouS  local  breath  before  -moving,  it  makes  success  im- 
poss-ible,  A  full,  natural  singing  breath  is  gotten,  automatically,  thTough  the  movement.  Trust 
the  movement  to  give  you  all  the  breath  you  need. 

]Sr.  B. — Read  carefully  page  21  of  this  work  before  practicing  the  single  tone. 

4.  Do  not  sing  while  moving  tip  the  dotted  line.  Do  not  hesitate  an  instant  after  reaching 
the  level  of  the  tone.  If  you  make  the  movement  ]ust  right  you  will  soon  know  the  tone  level, 
the  psychic  moment  for  the  spontaneous  start  of  the  tone.  If  you  move  too  much  you  will  find 
yourself  placing  rigid  effort  upon  the  muscles.  If  you  do  not  move  enough,  you  will  find  that 
relaxation  and  depression  follow. 

5.  If,  when  moving  up,  you  push  the  chin  up  and  out,  you  wiH  defeat  the  whole  process. 
You  thus  prevent  the  movement  from  influencing  all  true  conditions  at  the  organ  of  sound. 
Let  the  poise  of  the  head  be  perfectly  natural.  In  moving  up  and  out,  never  locally  pull  in 
the  muscles  of  the  abdomen  or  the  diaphragm,  or  locally  push  them  out.  Let  the  action  of 
those  muscles  be  free,  natural  and  automatic. 

6.  Having  reached  the  level  of  the  tone,  let  the  voice  sing  easily  from  B  to  C,  sustaining 
the  tone  entirely  from  the  easy  position  of  the  body  without  eff'ort  or  rigidity.  The  instant  the 
tone  stops,  move  down  to  D,  the  level  of  repose. 

N".  B. — The  tendency  is  to  drop  the  hands  before  stopping  the  tone.  Watch  it.  Loss  of 
conditions  follow.  A  worse  tendency  is  to  start  the  tone  before  moving;  true  conditions  im- 
possible. 

7.  In  moving  from  A  to  B  (which  requires  but  an  instant)  let  aU  preparation  for  the  tone 
occur  simultaneously  and  rythmically  with  the  movement.  This  is  the  "Let  go  !''  of  the  formula 
and  is  the  most  difficult  of  accomplishment.  Let  the  jaw  drop,  release  the  face  muscles,  lips, 
tongue  and  throat.  Let  the  mouth  open  naturallj"-,  not  wide.  Kever  compel  it;  never  locally 
influence  form.  When  the  movement  is  right,  you  will  have  aroused  energj^,  vitality,  automatic 
form  and  adjustment,  and  many  of  the  true  conditions  of  tone.  Then  the  voice  should  start 
spontaneously  by  impulse,  coming  as  it  were  from  the  motor  power  through  the  movement. 

Note. — It  is  possible  to  use  the  singing  movement  without  influencing  conditions,  without 
applying  it  to  the  tone  or  the  voice.  This  is  sometimes  true  at  the  start.  This  is  what  we  call 
"tlie  missing  linh" — the  link  between  the  movement  and  the  voice — and  it  is  very  prevalent  with 
those  who  do  not  have  correct  teehnic;  hence,  direct  local  effort  or  relaxation.  If  the  voice  is 
relaxed  and  breathy,  and  if,  after  using  the  movement  on  a  single  tone,  it  remains  entirely  so, 
then  either  the  movement  is  wrong  or  the  application  has  not  been  made.  If  the  voice  is  rigid, 
muscular,  and  hard,  and  remains  entirely  so,  if  not  released  then  true  conditions  have  not  been 
aroused,  then  the  missing  link  is  wanting.  The  instant  the  right  movement  is  applied,  there  is 
more  or  less  change  in  the  tone  of  every  voice.  After,  to  a  certain  extent,  having  mastered  Ah, 
sing  0  and  A  in  the  same  way.  The  student  should  always  practice  standing.  All  the  exercises 
in  this  work  are  so  written  that  the  student  can  begin  or  end  on  any  key.  Also  they  may  bo 
played  an  octave  lower  for  the  male  voice. 


VOCAL  INSTRUCTOR 

A  STUDY  OF  DIAGRAM  N?  1 
Exercise  N2  1 


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VOCAL  INSTRUCTOR 


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VOCAL  INSTRUCTOR  11 

A  STUDY  OF  THE  MOVEMENT  ASCENDING 
AND   DESCENDING 

Put  yourself  and  keep  yourself  upon  a  level  with  the  tone  by  moving  or  going  with  the 
tone.  The  way  at  first  is  the  important  consideration. 

DIAGRAM  NQ  2 


Level  of  first  tone    y'a  %■%- -Q-mha  End  of  la.st  tone 

A — • — Repose  E — ■% — Repose 

Use  Ya  on  the  first  tone;  it  starts  the  tone  forward. Use  Ha  on  all  other  tones  of  the  arpeg- 
gio; the  H  releases  tiie  throat,  phonetically  small  h,  large  A.  Sing  every  tone  strictly  xtaccato. 
Move  freely  and  easily  from  A  to  B.  The  instant  the  body  reaches  B,  and  it  takes  but  an  in- 
stant, let  the  voice  join  the  movement.  Voice  and  body  moving  together  to  C.  When  C  is 
reached,  the  singer  must  be  physically  upon  a  level  with  it.  The  movement  starts  at  A  and 
never  stops  until  the  C  is  reached.  If  this  has  been  done  properly,  when  C  is  reached,  the 
singer  will  have  aroused  automatically  the  energy  and  strength  necessary  for  or  demanded 
by  the  highest  tone  of  the  arpeggio  and  the  careful  student  will  soon  know  or  realize  it.  The 
instant  C  is  reached,  without  stopping,  let  body  and  voice  move  down  together,  the  voice  stop- 
ping at  D  and  the  body  at  E.  The  tendency  in  moving  down  is  not  to  allow  the  body  to  move 
down  freely  and  easily  with  the  voice.  The  tendency  is  to  hold  the  body  too  high  and  thereby 
compel  local  effort.  Never  locally  make  the  voice  or  tone  staccato,  or  locally  influence  the 
action  of  the  mu soles. WTien  so  made  or  influenced  the  effort  is  always  at  the  larynx.  This 
is  an  absolutely  false  and  hurtful  staccato.  When  properly  done,  the  staccato  action  is  felt 
at  the  diaphragm  and  the  abdomenal  muscleg.  The  action  felt  at  the  larynx  is  automatic, 
is  a  reflex  of  the  action  of  the  diaphragm  and  the  abdomenal  muscles. The  muscles  act  au- 
tomatically and  the  tone  is  staccato  because  we  think  and  feel  aright,  because  the  movement 
is  right.  In  this  exercise  or  arpeggio  we  study,  in  a  few  seconds,  the  first  and  correct  start 
of  seven  different  tones.  No  one  can  fully  appreciate  the  value  of  this  staccato  movement 
until  they  have  at  least  partly  mastered  it. 


12 


VOCAL  INSTRUCTOR 

A  STUDY  OF  DIAGRAM   NQ  2 


Exercise  N«  2 
Stnccato 


f'r^jj^^j'jjj  V  i  •>  m^j.j-'h^jsi^y  t  '>^ 


Ya  ha  ha  ha  ha  ha     ha 
La  la   la  la    la  la       la 


ii'il  .MJ>J'i 


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VOCAL  INSTRUCTOR 


13 


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14 


VOCAL  INSTRUCTOR 


A  STUDY  OF  THE  REVERSE 
MOVEMENT 

It  is  an  old  and  well  known  saying  that  the  "exception  proves  the  rule."  The  rule  is:  when 
singing  up,  move  up;  when  singing  down,  move  down:  when  singing  level  movements,  main- 
tain the  level.  All  for  the  purpose  of  putting  one's  self  ;ind  keeping  one's  self  on  a  level  with 
the  tone. But  we  will  find  exceptions  to  the  rule.  It  will  defieud  upon  the  effect  we  desire  to 
pioduce. 

DIAGRAM  NQ  3 


^  Q  Position  of  body  upon  lowest  tone 


Level  of  first  tone 


Level  of  lowest  tone 

This  diagram  or  figure  is  of  special  value  for  the  study  of  the  third  thought  in  the  formula 
given:  lift-expand-let  go.  In  ascending  there  is,  of  course,  increased  tension  of  the  vocal 
muscles  on  the  higher  lones  and  it  is  more  or  less  difficult  to  release  the  interfering  muscles, 
la  descending  there  is  constantly  less  tension, hence  all  local  effort  or  interference  is  more 
easily  overcome.  Sing  down  on  Ah  from  the  level  of  the  first  tone  A  as  per  diagram  NS  3. 
Start  about  the  middle  of  the  natural  compass,  find  the  level  through  the  singing  movement. 
Do  not  move  too  much  for  the  first  tone.  Sing  down  to  B  and  move  hands  and  body  up  or  out 
to  C,  more  out  then  up.  The  voice  and  the  movement  must  be  rhythmically  as  one. When  sing- 
ing down,  release  everything  above  the  chest.  Drop  the  jaw  a  little  and  let  the  tone  come  full , 
free  and  continuous.  Make  no  local  effort  to  hold  or  control  the  tone. Give  it  absolute  freedom. 
Trust  the  movement,  the  outward  movement,  and  it  will  take  care  of  the  tone.  The  tendency 
in  singing  down  is  to  depress  the  body  and  the  tone, hence  relaxation  or  local  throat  effort 
to  control.  In  singing  down,  if  the  student  trusts  the  movement,  he  will  soon  find  that  it  is 
inducing  correct  form,  adjustment  and  support, without  which  there  are  no  true  conditions  of 
tone.  The  upward  and  outward  movement,  if  right,  is  always  the  application  of  vitality,strength 
and  support.  This  is  a  developing  movement,  opens  the  form, gives  freedom  and  vitality  to  the 
voice  and  extends  the  compass  both  ways.  See  the  Renaissance  page  SO.WTien  a  certain  a- 
mount  of  gain  has  been  made  on  Ah, then  study  0  and  A  in  the  same  way.  0  is  a  strong  tone 
because  it's  form  is  naturally  elongated  and  elongation  is  the  natural  form  of  the  singing 
voice.  A  is  often  a  weak  tone  because  it  is  naturally  a  flat  arch.On  0  we  get  easily  the  added 
resonance  of  the  nares  and  the  reflected  resonance  of  the  chest  and  all  inflated  cavities. 
Place  and  reflect  the  A  much  the  same  as  the  O.The  student  should,  of  course,  know  and  un- 
derstand the  transition  of  the  registers  at  all  times. 


VOCAL  INSTRUCTOR 


15 


A  STUDY  OF  DIAGRAM  NQ  3 


Exercise  N2  3 


iirmr  f  Hi'iiVrr^r  ^  ^  i^^rj-frn 


t¥tff^^ 


H=Uji^ 


'^iUii^^ 


m 


^m 


«s 


^'~0r^ 


m 


# r1»- 


M 


i  t  wih~r-i~Ti'  i .  T 


-J  I  J   »    ^ 


?= 


? 


^ 


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i 


^ 


^: 


^^= 


l3tEi= 


«-  •  ^^    ^*^ 


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f^^ 


i  iio  J  J  I.  /^"^n^ 


£^ 


« — «^ 


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t^tm^ 


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*^  ^  t: 


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b:#      # 


>^>H'i>^-  j     j: 


-g  ^J~j   IL;. 


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16 


VOCAL  INSTRUCTOR 


t 


^^ 


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^   i  W\K 


i^ 


* — ^w 


* — ^w 


te 


tt 


fi 


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TF 


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See* 


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We 


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>>:    J    J    J- 


f^ 


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i   t^  Whh^  r  rTr   j^  i 


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s 


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« 


s 


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rP^T^wi 


z: 

ST 


a:         a:      q: 

3"         *• 


VOCAL  INSTRUCTOR 


1/ 


VOWEL  GROUP  STUDY 

Group  NQ  1.-  lo, la, loo,  le,  lah. 
Group  N2  3.- mo,  ma,  moo,  me, mah. 

Sing  medium  power.  Sing  the  tone  just  back  of  the  upper  front  teeth  where  the  tip  of  the  tongue 
touches  the  roof  of  the  mouth  in  making  the  consonant  L.  When  the  voice  remains  forward  on 
the  L  group,  then  study  the  second  group.  Place  the  tone  forward  on  the  lips  with  the  letter  M. 
Make  no  effort  hut  think  a  perfectly  free,  flexible  articulation. 

Exercise  Ni>  4 


t 


LigJitly 


^^ 


"^m 


g  ^  i  J'  i'  ^  I  i^ 


Lo    la    loo  le  lah 

Mo   ma  moo  me  mah 

Do    da  doo  de  dah 

Bo    ba  boo  be  bah 


^^1^ 


3E^3 


f 


ir~r-n 


-» w 


Ro  ra  rah 

Ro  re  rah 

Ro  roo  rah 


i 


te 


I 


* 


?^ 


rt 


w 


m 


T 


f 


i 


© 


f 


n^ 


T 


H 


m 


s 


v^w 


m 


T=^ 


\>¥ 


m 


fe 


m^ 


^^5 


feH^S5 


jCia±a=t3t 


•   • 


0   0   0   0 


m 


0 • ^—0 


m        0 


i-''i¥  J'J'J-tf^^i     ll'j'J'J'JiJ    t    lltV' J-J'J'J'lJ    !     II 


18 


VOCAL  INSTRUCTOR 


P 


j}    ^  s  S^ 


*^4^ffi:.H^-i-imtppppir   ^ 


*h 


-^ ■   ■    d 


m^^ 


i    m 


«A 


3^i 


^^^ 


^ 


^^ 


« 


^ 


e^ 


*^ 


i3 


F=f 


c|  BpflBir    <     ii^'i>^p  pppir    ^    I'l'PFC^ 


fe 


^js^^g 


fa»     . 


p    »     lin^^r^ 


ESEt 


?^i.  m^>\^-i-^mm>\r  i  i^ppfpit  »  iWFFI^ 


A'i,  r  r  ir  »  ii*"r  r~tf^^ 


r  J  m 


^m 


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B 


m 


a 


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m*^ 


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I 


ft 


fe*: 


19 

VOCAL  INSTRUCTOR 

A  STUDY  OF  THE  PHYSICAL  DEVELOPMENT 

EXERCISES 

The  following  exercises  sfiengthen  the  throat,  the  chest,  the  lungs,  nil  the  breathing 
and  controlling  muscles,  but  they  especially  strengthen  tfie  extrinsic  and  intrinsic  muscles 
of  the  larynx,  the  adjusting  muscles. When  the  position  of  the  larynx  is  weak,  the  shake  or 
the  tremolo  is  almost  always  in  evidence.  Many  singers,  in  order  to  overcome  this  weakness, 
resort  to  local  throat  effort.  When  the  adjusting  muscles  are  strong  and  equal  pressure  and 
resistance  prevail,  the  voice  is  always  free  and  steady.  These  exercises  also  induce  inflation 
of  the  resonance  cavities,  especially  the  ventricles  of  the  larynx,  so  important. They  make  of 
the  singer  a  perfect  instrument.  They  are  purely  physical  exercises  and  not  singing  move- 
ments. The  student  who  will  practice  these  physical  exercises  systematically  can  increase 
his  progress  at  least  50  ^o  in  a  given  time. 

PHYSICAL  EXERCISE  N9  1 
Figure  N9  4 


.— D 


Stand  in  an  easy,  natural  position,  hands  and  arms  as  in- 
dicated by  A  and  BB;  hands  closed  and  on  the  chest,  hands 
and  arms  on  the  same  plain  or  level, the  elbows  must  not  droop. 
Move  the  hands  out  to  CC.  Move  out  vigorously  as  though  try- 
ing to  put  the  closed  hands  under  the  arms  or  in  the  arm 
pits.  Do  not  pull  the  elbows  back  or  depress  them.  When  the 
hands  are  at  CC  a  line  drawn  from  elbow  to  elbow  from  D 
D  should  pass  directly  through  the  centre  of  the  neck.  This 
is  highly  important.  Move  the  hands  vigorously  back  and 
forth  from  A  to  CC.  When  moving -out  to  CC  pull  up  the  chest 
and  pull  down  the  chin.  Let  the  chest  and  chin  meet  as  it  were 
but  never  let  the  top  of  the  head  drop  forward,  a  general  tenden- 
cy. Pull  the  chin  straight  down. When  the  hands  go  back  to  A, 
the  chest  and  chin  resume  a  natural  position.  When  hands, 
chest  and  chin  move  co-ordinately,  then  draw  in  a  full,  quick 
breath  through  the  nostrils  when  the  hands  are  moving  out 
to  CC  and  release  the  breath  when  the  hands  come  hack  to  A. 


20 


VOCAL  IN8TRUCT0R 


This  combined  movement  out  and  back.whicli  we  call  one  stroke, puUs  down  automatically  the 
larynx,  inflates  the  cavities  of  the  larynx  iind  approximates  the  breath  bands.  In  this  way 
the  adjusting  muscles  and  the  controlling-  force,  the  weak  point  with  all  singers,  are  won- 
derfully developed  and  strengthened.  Do  quickly  from  five  to  ten  strokes  without  stopping, 
then  again  and  again.  Use  judgement  as  to  strength  or  energy  applied.  Never  overdo.  Gradu- 
ally increase  the  power. 


PHYSICAL  EXERCISE  N9  2 
Figure  N9  5 

Stand  in  an  easy  natural  position,  hands  and  arms  as  indi- 
cated by  AA  hands  closed.  Move  hands  and  elbows  out  to  BB. 
Hands  and  elbows  must  move  in  parallel  lines.This  is  import- 
ant. When  the  hands  and  elbows  move  out,  pull  up  the  chest, pull 
down  the  chin  and  breathe  as  per  instruction  given  in  Exercise 
Ne  1,  Figure  NQ  4.  Never  move  the  arms  out  more  than  eight  or 
ten  inches.  Do  vigorously  from  five  to  fifteen  strokes  without 
stopping. 


PHYSICAL  EXERCISE  N9  3 
Figure  N9  6 

Stand  with  arms  and  hands  as  indicated  by  AA,  move  hands 
and  arms  up  to  BB  and  back  but  do  not  raise  the  shoulders. 
When  moving  up,  follow  instruction  given  for  chest,  chin  and 
breath. This  is  a  powerful  movement. 

The  three  physical  exercises  given,  while  they  embody  the 
same  general  principles  of  development,  yet  each  one  brings 
into  action  in  a  certain  more  definite  way,  a  different  set  of 
bodily  muscles.  They  all,  however,  influence  directly  the  adjust- 
ing and  controlling  muscles. 


21 


VOCAL  mSTRUCTOR 

PART  II 

MENTAL 

Singhig  is  more  mental  than  J)hysical.  It  is  impossible  to  tell  just  when  the  mental  be- 
gins to  dominate  the  physical. No  one  can  think  an  exercise  or  movement  until  he  hfis,  to  a 
certain  extent,  mastered  it  in  a  mechanical  way.  No  one  can  do  an  exercise  or  movement  per- 
fectly until  he  can  think  it  aright.  There  is  no  dej^inite  knoivledge  except  that  which 
is  born  of  experience. 

In  the  first  part  of  this  work  we  studied  the  physical  demands  of  the  tone.  We  now  begin 
to  study  the  mental  demands  of  the  tone  combined  with  the  physical.Thebody  must  be  trained 
to  respond  automatically  to  correct  thought. 

The  Second  Principle 

Automatic  breathing  and  automatic  breath  control 

The  greatest  problem  for  the  singer  solved  in  the  19th  century,  solved  through  the  move  - 
mentSjthe  singers  position  and  action. 

The  breath  is  gotten  through  movement  and  sustained  from  position. -7%e  movements  in- 
duce correct  adjustment  of  the  tarynx.When  the  adjustment  is  right,the  breath  bands  ap- 
proximate automatically  and  absolutely  control  the  exit  of  the  breath,-  nature's  most  won- 
derful provision  for  the  singer  and  the  singing  voice. 

Theory .  The  singing  breath  should  be  unconscious  or  rather  as  subconscious,  as  involun- 
tary as  the  vital  or  living  breath. 

Devices.  Expand  to  breathe,  do  not  breathe  to  expand.  The  first  is  natural  and  right. 
The  second  unnatural,  artificial  and  wrong. 

Sing  a  tone  about  the  middle  of  the  natural  compass  of  the  voice  as  per  diagram  NS  1.  If 
you  have  the  habit  of  taking  a  conscious  breath, as  most  singers  have;  if  you  draw  in  the 
breath  locally,  you  can  overcome  that  pernicious  habit  in  one  vay  only. 

Practice  moving  from  the  level  of  repose  to  the  level  of  the  tone  without  consciously  breath- 
ing before  moving.  So  long  as  you  breathe  before  moving  it  will  be  impossible  to  get  a  right 
breath.  If  you  feel  that  you  must  at  first  consciously  breathe,  breathe  with  the  movement 
when  moving  up.  If  you  get  the  movement  just  right,  acting  through  correct  thought,you  will 
soon  find  that  you  need  not  give  breathing  a  thought.  Get  the  breath  automatically  by  the  ex- 
panding movement  in  ascending  and  control  from  position  the  level  of  the  tone.  When  you 
have  thus  acquired  automatic  breathing  and  automatic  breath  control,you  will  have  mastered 
the  most  difficult  problem  that  the  vocal  profession  has  to  contend  with. 


52 


VOCAL  INSTRUCTOR 

A  STUDY  OF  ASCENDING  AND 
DESCENDING  MOVEMENTS 


Find  the  level  of  the  first  tone  and  maintain  the  level  of  all  tones  by  moving  up  when  sing- 
ing up  and  down  when  sinking  down.  Sustain  the  voice  and  control  the  breath  by  bringing 
into  action  tlirough  movement  the  two  great  forces,  motor  power  and  controlling  force.  A- 
void  pushing  the  chin  up  and  out  in  ascending,  a  common  tendency  which  defeats  everything. 
In  singing  up  great  care  must  be  taken  to  raise  the  voice  upon  a  higher  plain  or  level  in 
passing  from  the  chest  to  the  medium^  voice  at  F  or  F  sharp,  first  space.  Also  in  passing 
from  the  medium  to  the  head  tones  at  F  or  F  sharp,  fifth  line.  Sing  first  with  Ah  and  later 
with  all  other  vowels. 

Exercise  N?  5 


VOCAL  INSTRUCTOR 


23 


fe 


r  r  r  N  ^ 


^^ 


m 


P^^ 


^ 


^ 


g 


i^ 


We^ 


i 


^ 


Jr-^-l# 


=fe 


^gr 


M 


■^sz. 


i 


^ 


-^ 


m 


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^ 


p 


^ 


m 


^ 


i 


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??: 


^ 


ii 


p^ 


t^ 


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-^ 


^?^#= 


^ 


^ 


^ 


Efe= 


?^ 


^ 


^^ 


^ 


^ 


=e= 


^: 


^ 


o 


% 


^: 


=F=^ 


-^ 


A  STUDY  OF  SUSTAINED  VOWEL  GROUPS 

Sing  on  Exercise  N2  4,  page  17  Second  Study 

Ro-ra-rah.  Ro-re-rah.  Ro-roo-rah. 

Sing  moderately  full,  sustained  legato  tones.  Bridge  over  or  tie  the  vowels  together  with 
the  consonant  R.  The  R  moves  tongue  and  pharynx  and  induces  flexible  form. If  the  student 
finds,  through  the  movement,  the  level  of  the  tone  and  maintains  the  level  from  position,  he 
can  release  all  local  effort  and  let  or  allow  the  voice  to  sing  with  free,  spontaneous  tone. 
Later  on  study  the  five  vowels  in  a  single  group  thus:  ro,  ra,  roo,  re,  rah. 


A  STUDY  OF  FLEXIBLE  VOWEL  GROUPS 


Bo  -  ba  -  bjo  -be-bah. 
Do  -  da  -  doo  -de  -  dah. 


Sing  on  Exercise  NQ  4,  page  17  First  Study 

Place  the  tone  well  forward  on  the  lips  with  B  and  on  the  hard  palate  with  D  just  back  of 
the  upper  front  teeth. 


24 


VOCAL  INSTRUCTOR 

A  STUDY  OF  PULSATED  SCALES 


Sing  lightly.  In  singing  up,  move  up.  In  singing  down,  move  down  but  always  cany  the  voice 
from  the  body.  Feel  the  pulsation  at  the  diaphragm  but  never  locally  compel  it. 

In  this  connection  I  would  advise  that  the  student  use  or  practice  some  light, florid,simple 
exercises. 

Exercise  NQ  6 


A         aaaa^^aaaaI^aaaa 

g)t  ^, J-,  Ji J' J' ^'  p  p  ip  p  ^'J''J' JJ^^I 

Ah  Ah 


i 


^  «> 


^ 


HE 


s 


4    8 


^ 


w 


w^ 


~rr~ 


3i: 


i^ 


te 


AAA^^        AAA 


AAA 


r^J^'  -^^  p  p  p  rp  p  F  J^  ^  j^  j 


AAA 


S 


M 


^^ 


^ 


-^ 


^ 


w 


w 


^ 


fs: 


AAA>^,         AAA 


^ 


AAA 


A       A 


AAA 


p  F  P  I F  p  ^  J^^ 


l=ii: 


^ 


w 


# 


S 


-^►- 


!»? 


fi    I         aAAAaAAA  aaaaA 

f-i'  }J'J'>  p  p  P  MP  P  p  p  > 


A       A 


HE 


^^ 


h^ 


it 


^ 


(^^ 


^^ 


^^ 


VOCAL  INSTRUCTOR 


25 


S5 


#=ff 


^m 


M 


fe5 


p^^ 


t: 


^ 


XE 


-- — m4 


I 


P 


P 


/I  AAA       aaaaAaaaaaAAa 

i^^J'  p  p  C  P  P  IP  f!  ff  p  r  J^^ 


^^ 


a 


* 


iui 


m 


^ 


Tx- 


A       A  A      A 


/S|i,a\aaaAa^^aaaaa\ 

fA^i'  }i  >  p  p  p  p  P  P  I P  P  P  p  p^ 


^^§ 


-Ck_ 


S5j^ 


4i: 


* 


w 


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Tt~ 


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-^ 


1? 


A       A       A  A       A       A 


aAaaaaa^^aaaaaA 

-}J^  p  p  D  P  P  P   IP  P  P  p  p-p  > 


o 


o 


# 


^ 


ti 


•Tnr- 


az:: 


m 


A        A        A        A 


F  p  F  P  P 


fe^ 


1        A        A 


AAA 


^ 


^^ 


s 


Tt- 


26 


VOCAL  INSTRUCTOR 


A  STUDY  OF  LEVEL  TONE  WITH  WORDS 
OR  SENTENCES 

Sing  sentences  on  single  tones-  Exercise  N9  1,  page  9 

This  for  the  purpose  of  learning  to  carry  and  sustain  tlie  volte  from  position  on  words, 
to  Sing  with  free,  flowing  voice  and  with  automatic  breath  control. 
A  few  examples  of  sentences: 

The  day  is  bright  and  fair. 

The  sun  shines  clear  on  high. 

To  thee  a  song  I  sing. 

I  sing  a  song  of  love. 


A  STUDY  OF  THE  REVERSE  MOVEMENT 

One  of  the  most  important  exercises  of  this  work. 
See  instructions  given  for  the  study  of  Diagram  N2  3. 

Exercise  N°  3  and  apply  it  in  full.  Start  the  first  tone  medium  and  let  the  voice  open  and 
increase  in  freedom,  power  and  depth  to  the  very  last  tone.  Sing  down  and  move  up  or  out 
with  the  full,  free  swing  of  the  singing  movement.  First  study  with  Ah,  then  other  vowels. 
Think,  feel  and  apply  the  principles  of  automatic  control  through  this  reverse  movement. 
Every  tone  sung  good  or  bad  is  a  reinforced  sound.  Muscular  reinforcement,-  the  wrong  way. 
Exercise  N9  *7     Added  resonance  of  air  in  vibration  in  the  inflated  cavities-  the  right 

way. 


«=¥^ 


J    t    f 


J  I J    <    < 


^ 


^m 


^m 


^=^ 


Pg 


it^E^t 


w 


^ 


f 


m 


m 


^^=^ 


i 


A 


23 


^ 


M^ 


m 


i  M^-  r  r  r 


*;st 


^^ 


^m 


He^ 


m 


* 


T 


n 


w 


m 


Wt 


1* 


1S>-^ 


fea 


*fe 


SE^^a 


?^ 


^^^^ 


^i^ 


^^ 


W- 


i^fF^ 


a 


W 


m 


^M 


^m 


O' 


-r^ 


^ 


^ 


VOCAL  INSRUCTOR 


27 


i_Lr  ^  J 1^  j  ^^^  *  ih'i>^''r^^ 


JS3E 


^ 


^ 


f^ 


^1.1-"^ 


^ 


F 


m 


^M± 


^ 


-(S(-^ 


ffij 


te 


J^i^lj  *  ^  1 


fcEt 


?^ 


tf 


S 


^^ 


f 


r: 


^m 


rt 


^ 


ff 


s^ 


iS<-' 


^''-JJJIj^,l,^MIJJ,IJJ7Tmj^J^ 


Efei 


iJ 


*  iJi 


^ii>,  p=">f^=]fAr  if^-  Tp^ffry 


m 


m 


5S 


^ 


a 


I 


s 


^=^ 


p 


P 


i=^ 


«tg 


j_^>):.JV^^ 


^ 


m^ 


SK 


?wi 


pf^ 


iJJ 


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iJJ 


^ 


i-ri^ 


-iii 


jgF 


^ 


i 


^ 


iZj 


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p 


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1 


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Every  tone  sung  ji^ood  or  bad  is  a  reinforced  sound.  Muscular  reiiiforcement-the  wrong  way. 
Added  resonance  of  air  in  vibration  in  the  inflated  cavities  -  tiie  ri^'ht  way. 


^^  VOCAL   INSTRUCTOR 

The  Third  Principle 

HIGH  PLACING  AND  LOW  RESONANCE  OR  REFLECTION 

Theory.  Tone,  to  be  artistic,  must  be  placed  forward  and  high  and  reinforced  or  built  down 
by  added  resonance  through  expansion  ;ind  inflation. 

Device.  Place  high  by  removing  all  obstruction,  by  inducing  the  true  conditions  through 
the  movements.  When  the  conditions  are  right,  reaction  and  reflection  occur  and  the  low 
resonance  of  the  inflated  cavities  and  of  the  entire  body  is  added  to  the  inital  tone. 

A  STUDY  OF  IMPULSE,  PLACING 
AND  REFLECTION 

The  spontaneous  impulse  of  this  study  or  movement  on  the  interval  of  a  fourth  is  the  strong- 
est, the  most  self-assertive  known  for  the  human  voice.  This  exercise  is  said  to  have  been  the 
original  attack  of  the  old  Italian  school.  It  may  have  been.  It  is  surely  worthy  to  have  been, 
and  more,  too. 

1.  Sing  first  tone  staccato.  Move  to  the  level  of  the  second  tone  from  the  level  of  the  first 
tone  by  impulse,  using  hands  and  Singing  Movement. 

3.  Sing  second  tone  with  a  strong  impulse  of  the  motor  power. 

N.  B,  The  value  of  this  study  lies  in  the  rhythmical  impulse  between  the  first  and 
the  second  tone,_the  impulse  or  stroke  of  the  motor  power  induced  sponta- 
neously by  the  automatic  movement, 

3.  In  moving  from  the  first  to  the  second  tone  by  impulse,  lift,  expand  and  let  go  sponta- 
neously and  thereby  arouse  energy,  life,  freedom  and  the  most  natural  tone  of  the  voice. 

4.  Sing  up,  think  down, not  the  tone,  but  the  controlling  power;  never  the  thought  on  the 

throat,  but  on  the  chest.  This  will  give  the  rebound  so  important  and  will  equalize  the  two 
forces,  the  motor  power  and  the  controlling  force,  so  necessary, 

NOTE:  When  moving  up,  think  placing  and  reflection.  Think  and  feel. the  tone  or 
the  air  current  as  striking  both  ways  at  the  same  instant  The  reflection 
follows  the  placing  so  quickly  that  the  sensation  is  as  though  they  were 
simultaneous.  Think  and  feel  the  tone  well  up  in  the  face  and  on  the  chest 
at  the  same  instant,- but  do  not  push  up  the  chin. The  whole  scheme  lies  in  the 
impulse  during  the  short  rest  between  the  first  and  the  second  tone,  in  e- 
qualizing  the  two  forces  and  thus  securing  a  condition  of  poise,  of  equal 
pressure  and  resistance.  As  all  singers  are  weaker  in  the  control  than  in 
the  drive,  so  all  artistic  technical  training  lies  in  developing  this  condi  - 
tion  of  equal  pressure  and  resistance.  Until  the  action  of  the  controlling 
force  (resistance  or  control)  is  equal  to  the  motor  power  (pressure  or  drive), 
the  full  force  or  value  of  this  exercise  will  not  be  appreciated  or  experi- 
enced. 


Exercise  No.  8 


ii-  \ 


^ 


^ 


W 


W 


W 


Ya  ha 

or  ya  ah 


m 


A 


tt 


ffi 


Se 


i 


^ 


w 


^ 


t 


» 


fW 


^ 


^E 


ste= 


"$ 


S 


-^-^ 


VOCAL   INSTRUCTOR 


29 


p7\     ^  j^^lA^^''  J     ^  ^yt  J    ^j'^^''|>  J    ^p 


te 


fe 


h  ^T^V 


^ 


S 


^ 


^ 


# 


^   1.' 


^ 


^^ 


« +4r« 


^ 


#     ^''T  * 


^ 


s 


^te 


^ 


?r — S 


l>        "7 


"W 


-Ut 


1* 


^"H    >  i,j>>ii^''7    *  itJ'^ii'ft'  ^    *  J'Hp^^^ 


^'^'  a  t4 


tf 


a 


i 


i 


^S 


7|l>        c 


^W^ 


8  IjiiPi'  ^ 


s 


Ift 


^^ 


E^ 


m 


^^^^^^^^^^^^^^ 


«A=F 


e 


^ 


^^'ii  -J  t^ii»j-  i' 


i 


i  ^^ir 


m 


^ 


t"W~p" 


ii—fiP-p 


m^ 


» 


fe 


?    Ikf     I  i 


m 


te; 


ft 


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¥ 


^ 


rVrV-Li^  r     hb  V II*  r     »  '^ 


^ 


M 


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s 


30    '  VOCAL  INSTRUCTOR 

A  STUDY  OF  SMALL  FORM  IN  CONTRAST 
WITH  LARGE  FORM 

E,  A,  Ah- small  form.      Ah-  large  form. 
00,  0,  Ah- small  form.     Ah-  large  form. 

Sing  the  three  vowels  as  one  phrase,  continuous  tone. 

Start  E  well  forward  and  up,  full  voice,  natural  form  of  E,  which  is  small.Change  to  A,then, 
Ah,  without  allowing  the  mouth  or  form  to  open  a  particle,  without  moving  the  lower  jaw  ; 
then  sing  open,  free,  full  Ah.  In  passing  from  E  through  A  to  Ah,  small  form,  if  power  is 
properly  applied,  the  energy  aroused  will  expend  itself  in  a  better,  a  firmer  adjustment  of 
the  larynx  and  in  elevating  the  soft  palate.  Also  the  student  will  be  more  conscious  of  the 
strength  of  the  abdomenal  muscles  automatically  applied,  so  necessary  to  proper  adjust- 
ment. (But  never  locally  pull  in  or  push  out  the  abdomen.)  The  conditions  thus  aroused 
should  be  applied  spontaneously  on  the  full,  open  Ah. Use  not  one  particle  of  local  throat 
effort,  a  common  tendency.  All  strength  must  come  from  the  abdomenal  muscles. 

Study  00,  0,  Ah  along  exactly  the  same  lines.  Also  study  the  small  form  of  Ah  and  then 
apply  the  conditions  aroused  to  the  open,  free  Ah. 

Exercise  NO  9 

4 


i 


t 


a        ah 
o        ah 
-  ,  „.    J    (  Le      la      lah 


'         ^ 


1st  Study 


I  E 

(  00 


"TS — 
ah 
ah 
lah 
lah 


-&■ 


m 


f 


^ 


frf 


^ 


^ 


\r, — g: 


^3f 


s 


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\^ 


m 


s 


tf 


m 


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51      P' 


^ 


#       *      ^ 


rt 


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E^e 


^ 


S 


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^ 


1*3*= 


-w 


^ 


VOCAL  INSTRUCTOR 


31 


fe 


U^ 


a 


^.       7 


i 


tf 


I 


ii 


a 


^^ 


^ 


t^ 


-# 


rii^ 


^ 


** 


i 


tfi 


a 


i^*^ 


^ 


'» r  r  r- 


^ 


^ 


^^ 


^* 


^ 


^ 


m 


s 


i 


fe 


fe  ^  ^  I* 


R^i,  r  r  r'  ^ 


^ 


:^ 


^ 


^ 


4 


ii 


^ 


^ 


±J: 


H  i  i  a 


B 


*=»=» 


^ 


^       fi. 


^      ^ 


^ 


^ 


ESI 


^= 


*Ar  r  T' 


^ 


^ 


S: 


i^ 


ii 


^ 


s 


^ 


il 


^ 


m 


d-    (^ 


-9 9- 


-P  _ 


32 


VOCAL  INSTRUCTOR 

A  STUDY  OF  AUTOMATIC  PLACING 


Find  the  level  of  the  first  tone.  Sing  down,  move  down  with  the  voice  easily.  When  the  low 
tone  is  reached,  by  will  power  automatically  through  bodily  impulse,  lift  the  voice  back  and 
up  to  exactly  the  spot  where  the  first  tone  started.  This  is  a  study  where  the  mind  or  thought 
must  rule  the  body.  Study  this  first  with  Ah,  then  other  vowels. 

Exercise  1S9  10 


^i  r  r  r  '^  ^  ^  iiV^Jtr  r  r  'F  ^  ^  "^'^  r  r  i^  ^  ^ 


sr4-  g.     = 


3^ 


^ 


^^M^ 


^ 


^^ 


^^ 


<  ^  tf^4d 


P 


^  '  ^^-^^ 


»    i^^i 


^ 


tt 


5 


^ 


« — *■ 


m 


P — r^ 


f 


9^ 


^ 


I* 


^ 


tESES 


tt* 


EtEt 


?^ 


fE^sa^ 


^^ 


s 


fed^^ 


^ 


^ 


3F=W^; 


f^w 


T 


f 


■Wi 


C2j,f: 


^y 


^^ 


^ 


^^ 


J   i  i  \m 


l+A 


it^Ei 


telE 


?^ 


^—d 


f^ 


^ 


^^ 


« 


m 


m 


s; 


i 


fi^^ 


W 


*    iM)* 


f 


^ 


^ 


^^ 


SB 


^ 


t= 


* • 


fefe 


fe 


^^^m 


^^^ 


^£ 


JE=* 


*-^ 


^ 


^ 


^S 


^ 


^ 


^^ 


^ 


Z.     *      • 


^^ 


Hv 


i 


li* 


^ 


i 


E^E 


VOCAL  INSTRUCTOR  33 

A  STUDY  OF  THE  THREE  DEGREES  OF  POWER 

Exercise  NQ  5,  page  32.  Sing  first  Ah,  then  0,  then  other  vowels. 

First.  Ordinarily  full,  power  F. 
Second.  Medium  power,  M. 
Third.  Soft  or  softer  tone,  P. 
The  central  thought  of  this  study  is  to  maintain  the  true  conditions  on  all  degrees  of  power. 
The  same  form,  adjustment,  character,  control.  The  tendency  is  to  sing  the  soft  tone    small 
and  uninteresting,  thereby  losing  all  true  conditions. 

Also  study  the  three  degrees  of  power  with  words  or  sentences.  Study  them  first  on  single 
tones.  Exercise  l,then  on  Exercise  5. Use  words  or  sentences  on  all  exercises  that  will  lend 
themselves  to  such  use  throughout  the  whole  work. 
A  few  examples  of  sentences-: 

Fair  spring  has  come  again. 

0  come  my  love  to  me. 

1  love  to  sing  a  song. 
My  heart  is  thine  alone. 

A  STUDY  OF  THE  SWELL 

Roo  -  ro  -  rah  -  ro  -  roo. 

00-0-Ah-  0  -00. 
This  is  practically  a  study  of  the  three  degrees  of  power  combined.  Begin  about  the   middle 
of  the  compass. The  success  of  this  study  will  depend  entirely  upon  The  Singing  Movement. 
This  is  a  special  study  of  expansion.  Strive  on  all  degrees  of  power  to  keep  pressure  and  resist- 
ance equal  and  thus  overcome  the  usual  tendency  to  push  the  tone.   Place  the  Roo   forward  and 
high,  softly. 

Gradually  open  when  expanding  and  build  the  tone  downward  by  adding  the  resonance  of  the 
low  cavities. WTien  swelling  move  straight  out.When  diminishing, come  back  on  exactly  the  same 
lines  and  finish  the  soft  roo  just  where  it  was  started.  Allow  the  form  to  adopt  itself  automatically 
to  the  increased  or  diminished  power.  Never  compel  or  locally  influence  it.  Afterwards  use  00 -0- 
Ah -0-00,  following  exactly  the  instructions  given.  This  is  a  developing  exercise  and  a  fine 
study  for  placing  and  reflection. 


Exercise  N9  11 


P-=^f- 


P-=^f 


'^^- 


^E 


o  g  '  o  '  o  g 


a  a  ■  o  ■  aa 


ZSSl 


fTTri. 


Roo  ro  rah  ro  roo 
00  o  ah  o  00 
ah 


^ 


a 


Be 


^ 


-5-«- 
If 


Sf» 


# 


-^-^ 


^^ 


m 


^ 


1.?^: 


^t- 


w> 


^ 


33: 


3s: 


m 


33: 


1 


i 


^s 


-*>- 


''^^Tx 


«-«- 


^■s- 


^^ 


i 


-p 


,p-=-f- 


a  a 


■e-& — ^ &-& 


^ 


P> 


i 


3 


5V- 


!:!?- 


m-:. 


s: 


# 


Si 


^^ 


■ss 


WW 


^ 


^m 


zm 


zauz 


h»- 


o 


m 


"s^:' 


^S^-G>■ 


:§: 


n 


331 


~rrr. 


^ 


l?ir: 


t>-t»- 


■^'- 


:—   -CO    _: 


34 


i 


1^ 


-f 


VOCAL  INSTRUCTOE 


j» 


m 


w= —   I  ..   I  ,- 


IS' — |S ^ 


^^^ 


i 


I*: 


^ 


^ 


B^za 


* 


t:  — li':  —  I  L    iTJ 


^ 


=0 


-« — s 
-»-    -S- 


g^-^ 


^ 


fe 


-^ 


^ 


a (2. 


21 


i 


/: 


^ 


^ 


f 


r-i     p 


^^ 


-o- 


^^ 


i 


^ 


^ 


?^ 


s 


^ 


# 


=g=& 


#=# 


ga 


O (£ 


I*-    t9- 


HE 


F=^ 


^ 


i» 


/ 


P 


if 


J?. 


/ 


p 


-^ 


(S — ^ 


is — (^ 


-o- 


ts — (©- 


i 


fe 


^^ 


=^=^ 

yg^ 


^ 


« — s 


a 


i 


**--« — s 


^ 


3 


^    fi- 


^ 


42.     j2. 


Si 
~rt- 


|2.      ^ 


^ 


5 5^ 


9 9- 


^ 


/^ 


i' 


1^      fj    r-j     I     «*     IT''     r^ 


i^ 


:/: 


^ 


r-J      r-J      I     «»       I     (^      rj- 


^E 


t 


r       n     rz 


S 


W=^ 


^^i  "-^  ||tf*>g  g 


S 


s=e 


^^ 


■(S>-     ^ 


w^ 


■^  -^ 


« 


-"3 ^ 


^        ^ 


g 


2 Z 


S 


PCE 


P~=^f^^=~P 


P-==^f-- 


iS— (9- 


-^ 


l9— l5t 


tt 


1^  |C         r»        P    P 


P~==^f=—P 

Ijlp   P    , r»    _    p   p 


^ 


i 


6    p 


^ 


^ 


1^ 


A^^ 


s 


«-e 


s? 


i 


1^ 


s 


-2^5 


fc^ 


^^ 


^  ^ 


^ 


Si 


i'SL 


'■9-  '■- 


Si 


's>-1 


« 


>^f- 


VOCAL  INSTRUCTOR 


35 


-     A  STUDY  OF  FORWARD  PLACING 

Sing  with  an  easy,  bright,  forward  tone.  Use  the  words  given  in  the  exercise. 

The  consonants  are  all  subvocals  placing  the  voice  forward  by  the  easy  flexible  use  of  the 
tip  of  the  tongue  and  the  lips.  Sing  quickly  with  accent.  Sing  only  on  the  middle  compass  of 
the  voice.  This  is  a  wonderful  device  for  forward  placing. 


Exercise  NO  12 

Very  quickly 


\ 


m 


'  ^  J 


^^^^^^^^^^^^^ 


-r — w^    w^ — r — •  '    *  ' — r — r — r — •^ — ' — ^ 
Jin  -  gle    jin  -  gle    jin  -  gle    jin  -  gle    jin  -  gle    go     the        bells 


m 


The 


"^ 


c* — ^ 


aa 


i 


f"^^   ^  .N^Ji-i  h   h  ^  ^^Pm 


^E^^ 


mer  -  ry    mer  -  ry    mer-  ry    mer  -  ry    mer-  ry    mer-  ry        bells 


The 


4k 


^ 


f 


f 


i 


TW^^ 


^ 


■^ 


^ii^ 


feSI 


•'       •'       #'       •'       #'       #'^ 


m 


0 # 


ling- a      ling  -  a      ling  -  a      ling  -  a      ling- a        of     the       bells 


The 


m 


f 


i 


T~M 


gJE 


i 


^    ^  W'^ 


^^^^ 


-4 s  -I a  -' m~-^ 


# 


ding- a     ding  -  a     ding- a     ding  -  a     ding  -  a        of     the        bells 


The 


if 


=^ 


T 


* 

i 


i>^ 


36 


IJM^XJ^ 


VOCAL  INSTRUCTOR 

tN       fe,      fcv  zzjs:: 


h    K    ^   N    N    h   h 


^     9WI 


d      d'     d    ^ 


■m m-' — 0-^ — •-' & 


bing-a     bing-a     bing-a     bing-a      bing-a        of    the       bells 


m^ 


i 


^ 


^^ 


^ 


^^=^ 


^^ 


^ 


5=^=5 


5=^=5 


ts    ^.    ^ 


y   it  Im 


m 


i 


i 


^ 


f=f^ 


p* 


arz 


^-A^-JUi-iiE,^!  }\  ^  }\  }l}^  }  >• 


M 


^B 


i 


S 


fe 


i 


I 


^^ 


Ir — a: 


^^ 


^ 


f=l 


fi  }'  }•   i  >  i^r^:^:^!^::^]-'    |  :T  ^p 


^3 


I 


j.     Hf 


^ 


^ 


aif 


m 


¥ 


^ 


g^"  P  M  P  P  P  P  P  P  P  -M-+f 


Pi 


i 


i 


-^i^- 


VOCAL  INSTRUCTOR 


S'J 


m 


F^^  P  M  M  f-J-t"T=^  g  I  r      — "^ 


^ 


i 


i 


^^ 


^ 


i 


^ 


i 


^— p    p    P    P    p    ^—^'^    P    P    ^ 


^^1 


i 


i 


i 


-^ — fet^ 


*i 


» 


p 


i 


ij* 


^ 


^n  B  P  fi  Tr  fi  P  P  F  P  M^ 


^^F# 


i  ^iit^  ^^ 


^ 


* 


^ 


^ 


sr 


^ 


^^^^^^^^^^^S 


^^=1 


^ 


-S         l;'>ri 


ii: 


f 


S 


^ 


^     k^    li^    -^     H     1?^    ^i     b    t?i    ^ 


^ 


P 


38  VOCAL  INSTRUCTOR 

A  STUDY  OF  PLACING,  FREEDOM, 
AND  ELONGATION 

Le  La  Lah-Lah 

Loo  Lo  Lah-Lah 
Sing  these  vowel  groups  on  Exercise  9,  page  30  second  study.  Sing  with  absolute   freedom  of 
form  and  action.  Sometimes  full,  sometimes  soft.  Let  the  form  be  perfectly  natural.  Many  stu- 
dents open  the  mouth  too  wide,  which  is  really  worse  than  not  opening  it  enough. 

A  STUDY  OF  THE  CONNECTED  STROKE  AND  OF 
THE  LEGATO  IN  ASCENDING 

Study  N9  1.-  This'study  is  much  the  same  as  Exercise  8,  page  28  except  that  the  tone  and 
the  action  are  not  suspended  but  are  continuous.  Take  the  first  tone  from  position  and  the  up- 
per one  with  an  accent  or  stroke  due  to  the  movement  and  an  impulse  of  the  body.  Study  first 
with  Ah,  then  other  vowels  When  moving  up,  think  down,  not  the  tone  but  the  reaction,  in  order 
to  avoid  pushing  and  to  maintain  equal  pressure  and  resistance. 

Study  NO  3.- This  is  much  the  same  as  the  first  study,  except  that  the  movement  is  legato. 
The  stroke  or  the  impulse  is  felt  but  not  heard  in  the  tone.  This  is  an  important  but  difficult 
ascending  movement.  The  forces  must  always  be  balanced  and  the  form  elongated  automatic- 
ally or  freedom  of  placing  and  reflection,  will  be  impossible. Avoid  pushing  the  chin  up  or  out. 

Exercise  NQ  13 


1st  study 


2d  Study 


m 


tt 


*= 


wm 


m^ 


r  '  I' 


^m 


w 


tf 


m 


p 


i 


^ 


^ 


ll>    p- 


rt 


r* s^ 


a 


VOCAL  INSTRUCTOR 


39 


i 


^m 


^ 


^* 


f  kJ  yn 


JE^ 


P 


t 


ul  v\K 


Tl^f 


^ 


^ 


^ 


^ 


W=^ 


^ai=^ 


^ 


^ 


^ 


w 


0 — (9- 


f 


fe 


^ 


f=P 


i 


ct— ^ 


^ 


*l 


s 


j   Up     III- 


^-^-^-1 


^  ^''l.  (n^f^~r^i 


m 


Mr  III- 


# 


^rt]^ 


m 


^^ 


fe^^ 


=^ 


^ 


^ 


^ 


i'^  ^^ 


te 


^^ 


i  'r   II  ^h>  r    I  r  j^  i- 


^ 


te 


^^RF^ 


(2-!- 


V  iui-i>  r  1^ 


r^rnr^ 


^^ 


^ 


to^ 


g 


^ 


« 


±^ 


?1»-  1S^ 


^i 


^ 


S' 

-9:^ 


S 


3^ 


^ 


40 


VOCAL  INSTEUCTOR 


A  STUDY  OF  ACTION  AND  PLACING 

Sing  the  six  vowels  without  stopping  the  voice.  Move  from  the  level  of  the  low  tone,  by 
impulse,  to  the  level  of  the  high  tone  and  back  again,  each  time  with  considerable  accent 
on  the  high  note.  Sing  the  second  group  exactly  the  same  way.  Think  and  place  the  voice 
entirely  by  the  movement.  The  open  Ah  should  finally  place  as  high  as  the  E  or  the  00. 


Exercise  N9  14 


fe 


^ 


->i^  i'^  i 


^3 


E  e        e       a        e         ah 

Oo        00      00     o       00        ah 


^ 


^W 


^P 


}rgib~^ 


=f 


j~J3~^ 


ms^ 


i 


m 


t& 


t¥ 


■Md^ 


A  A  A 


A A 


tfi 


^m^ 


A  A A 


SS 


gycfr   d  j,d  ;.\^--t-pi^^ 


i^m 


f=^<n^-j^  j^ir  n 


w^ 


M 


=^ 


^^ 


u 


ftp^ 


:!^^ 


VOCAL  INSTRUCTOR 


41 


i  }  i'r  ^'1 M  '^^'11^'^''^^  r  ^Y  ^^\('  ^  ii'^^iV  ''Y  "i^ir'  ^  j 


s 


f-inH^ 


j-l^j.  iJ' 


y-d  J4jjii'j.^ 


^ 


ijfef^ 


i  r   p- 


^-  !?# 


^>'    p:    p: 


sag 


fe 


A  A  A 


tt 


A  A  A 


A  A  A 


^ir  MpirryTf^pir  ^"piK  p 


m: 


w 


^^m 


pgpf 


n 


^  pt^^'^'f 


^^ 


3fe 


S 


m 


■«.•      I>JL< 


E 


^ 


A  A 

* •_ 


m 


A  A 


A  A 


b=ld^ 


■^rprMf 


r^^?i  pi  pf^^ 


1«! (► 


^^2 


^ 


^Msp 


^ 


ffTgilJ^^  h 


i 


^^^fYf44f^ 


t=^f 


;£ 


;£ 


^ 


#-•    #■ 


^ 


•^L_j#: 


^*       ^ 


!>*• 


S 


i3E 


^ 


S 


A  STUDY  OF  FREEDOM,  OF  FORM 
AND  ACTION 

Sing  ascending  and  descending  movements  with  the  syllable  Lah  semi- staccato.  Use  Ex- 
ercise NO  2,  page  13. Sometimes  hold  the  top  note  two  or  three  counts,-  a  valuable  exercise  if 
you  have  found  its  level  through  the  movement. 


43 


VOCAL  INSTRUCTOR 


A  STUDY  OF  FREE  PLACING 
AND  REFLECTION 

Sing^  up  with  impulse  and  action  and  thereby  place  the  E  or  the  00  with  high  and  brilliant 
effect.  Then  sing  the  Ah  with  a  new  impulse  and  the  same  placing  and  effect. 


Exercise  NQ  15 


^m 


^^^ 


*t 


J.    t  ■,  w 


Wf 


t* 


Ah    ah     a      e  Ah 

Ist  Study    Ah    ah     0      oo  Ah 

2d  Study  Lah  lah  lah  lah  Lah 


P^^^r^ 


ii 


m 


S*S3-Ti 


1^ 


i|* 


gaEB^ 


ta 


* 


^m 


^ 


t 


ft 


^53; 


ifc^j'^T  ^ir 


jEa: 


jT^r  •'^r" 


i 


NA4 


a 


% 


^^P 


^^ 


^^^Pi 


^f 


■f^T* 


^^ 


*; 


*3 


^ 


^ 


^ 


^ 


j^^'  r  ■■  I  r 


*  V II '■n  h^ 


EfeSE 


ift^ 


!^ 


i 


? 


i^^ 


=f^ 


^•s^ 


tfe=5 


w 


p 


^ 


i 


f;         jl 


43 


VOCAL  INSTRUCTOR 


$ 


k 


t  1  II  ft  h  i' 


m 


^ 


UK-rk 


f^m 


s 


Eft 


fe¥3 


i-  '''Tiji  tJ 


J'J'F  I    ^ 


^^^^^ 


i 


Ib 


^ 


^- 


^ 


r-    t    T  II  u^ 


iss; 


^ 


^ 


pr^H 


s 


jjl 


s 


hfaifi 


w 


^ 


iMs 


i 


^ 


i 


i 


m'  J'F 


^  nr;' 


tea; 


^ 


#^^^^^r^^-^ 


1^=4^ 


f^^JR^ 


^ 


^ 


^^ 


^ 


i 


i 


^ 


44 


VOCAL   INSTRUCTOR 


A  STUDY  OF  THE  ARCHED  MOVEMENT 

Think  from  the  lowest  to  the  highest  note  a  full,  sweeping  arch  in  ascending,  also  each  in- 
terval as  a  small  arch  within  the  large  one.  Move  up  freely  and  quickly  to  the  level  of  the  up- 
per tone.  Sing  up,  think  down  in  order  to  induce  reflection. 

Exercise  No  16 

^3 


'mm 


45 


VOCAL  INSTRUCTOR 

A  STUDY  OF  THE  NERVE  CALESTHENICS 

These  exercises  are  of  special  value  to  the  weak  and  nervous  singer. They  not  only  give 
the  singer  control  of  himself  but  they  develop  him  physically  from  head  to  foot.  They  must 
be  used  systematically;  always  before  retiring,  always  upon  arising.  They  may  also  be  prac- 
ticed at  any  odd  time  during  the  day.  A  good  time  is  just  before  singing.Every  singer,  even 
the  most  robust,  should  use  them. 


Dirrrr— ir= 


EXERCISE  NQl 
Figure  NQ  7 

Stand  with  hands  straight  up  as  indicated  by  AA, 
Figure  N2  7.  Begin  by  tensing  the  fingers.  Let  the 
tensing  of  muscle  slowly,  always  slowly,  follow  down 
the  arms  into  the  shoulders,  down  the  back  into  the 
legs,  down  into  the  feet,  into  the  very  toes.  When  the 
tensing  is  moving  down  the  body,  always  retain  it  on 
every  muscle  already  tensed. When  the  tensing  is  mov- 
ing down,  slowly  bring  the  hands  to  the  chest  BB.  Have 
the  hands  reach  the  chest,  tightly  closed,  just  as  the 
tensing  reaches  the  toes.  Hold  a  few  sesonds  and  you 
will  find  not  only  hands  and  toes  tensed  and  tightly 
closed,  but  every  muscle  and  nerve  of  the  body  is  firmly 
tensed.  Release  everytliing  and  you  will  find  that  the 
body  has  been  automatically  expanded  and  the  lungs 
filled  with  breath,  thus  again  inflating  the  cavities  and 
strengthening  the  adjusting  muscles. 


46 


VOCAL  INSTRUCTOR 


Now  reverse  the  entire  process.  Hands  up  to  AA,  begin  tensing- at  tlie  toes,  follow  up  slow- 
ly until  the  tensing  reaches  the  hands.  As  the  tensing  slowly  moves  up  the  body,  gradually 
bring  the  hands  to  BB,  having  them  reach  BB  just  as  they  close  tight.  Hold  and  release  as 
before. 

From  hands  to  toes  we  call  the  positive  current.  From  toes  to  hands  the  negative  current. 


EXERCISE  NQ  2 

Let  the  hands  drop  straight  by  the  side  to  CC,  Figure  NS  7.  Now  begin  the  positive  current, 
tensing  from  hands  to  toes  as  per  instruction  given, gradually  bringing  the  hands  up  to  BB. 

Drop  the  hands  again  to  CC  and  develop  the  negative  current,  from  toes  to  hands,  ending 
with  the  hands  at  BB. 

EXERCISE  NO  3 

Begin  with  the  hands  at  the  chest  BB.  Tense  from  hands  to  toes, positive  current,  moving 
the  hands  out  laterally  to  DD. 

Begin  with  the  hands  at  BB, tense  from  toes  to  hands, negative  current,  moving  the  hands 
out  to  DD. 


EXERCISE  NQ  4 

Begin  with  the  hands  at  DD.  Tense  from  hands  to  toes,  bringing  the  hands  to  BB.  Begin 
with  the  hands  at  DD,  tense  from  toes  to  hands, bringing  the  hands  to  BB. 

Always  begin  with  and  end  with  some  one  of  the  positive  currents. 

The  student  must  regulate  the  energy  and  strength  used  according  to  his  condition.  At 
first  tense  rather  moderately  and  afterwards  gradually  increase  the  tensing  power.  It  is 
not  good  to  begin  too  vigorously. 


47 
VOCAL  INSTRUCTOR 


PART  III 

EMOTIONAL 

Artistic  singing  is  more  mental  than  pliysical,  but  more  emotional  than  mental  and  phys- 
ical combined. 

A  Study  of  the  Inner,  the  Higher  Nature  of  the  Singer, 
the  Singer's  Sensa,tion,  f/ie  T/iirdl'ower 

There  are  three  kinds  of  singers: 

First.-  The  Physical,  the  lowest  order  of  singer  and  singing,  the  prevailing  type. 

Second.  -The  Mental,  a  much  higher  order  than  the  physical  and  when  musicianship 
is  added,  the  mental  singer, .the  singer  with  but  little  or  no  temperament  but  with  teehnic 
and  power,  is  often  quite  successful;  at  least  from  a  financial  standpoint. 

Third.-  The  Emotional,  the  singer  who  sings  with  body,  mind  and  soul,  the  singer 
who  appeals  to  you  even  though  the  voice  may  not  be  great.  But  when  voice  and  musician- 
ship are  combined, the  type  that  becomes  the  great  singer  of  the  world. 


The  Fourth  Principle 

EMOTIONAL  OR  SELF-EXPRESSION 

T?ieory .YitaAizeA,  emotional  energy,  the  singer's  sensation,the  third  power,  is  the  true 
and  only  power  known  by  the  great  or  artistic  singer. 

Devices.  A  study  of  tone  color,  tone  character,  feeling,  sensation, the  inner,    the  higher 
nature  applied  by  the  use  of  exercises,  words,  sentences,  etc. 

If  the  student  of  this  work  has,  to  a  certain  extent  at  least,  mastered  the  physical  and  men- 
tal, if  the  voice  is  free  and  spontaneous;  then, he  is  ready  for  the  successful  study  of  this 
division.  As  it  is  impossible  to  tell  just  when  the  mental  begins  to  dominate  the  physical, 
they  are  so  interrelated,  so  it  is  impossible  to  tell  just  when  the  emotionalbecomes  the  great 
dominating  power.  With  the  student  who  has  feeling, temperament, magnetism, it  is  felt  more 
or  less  from  the  very  start,  but  they  are  the  rare  ones.  With  the  great  majority  it  has  to  be 
drawn  out  and  developed  like  any  other  attribute  or  power. 


48  VOCAL  INSTRUCTOR 


Sing  tke  following:  sentences  on  Exercise  N2  5,  page  23. 

My  heart  is  glad  today. 
My  love  lias  come  to  stay. 

Sing  with  happy  thought  and  feeling,  not  thin,  white  tones.  Not  common  tone,  but  bright 
tone,  emotionally  vitalized.  If  in  doubt,  read  the  sentences  aloud  with  the  sensation  of  glad- 
ness then  sing  them  with  the  same  feeling,  the  idealized  tone,  the  singer's  sensation. 

The  very  opposite  of  the  above,  sad, sombre  thought  and  feeling  will  ^e  found  in  the  following: 

My  heart  is  sad  today. 
My  love  has  gone  away. 

This  requires  sombre  tone,  dark  color  and  intense  emotion. Care  must  be  taken  not  to  locally 
color  the  tone,  the  bright  tone  by  singing  out  of  the  mouth,  or  the  dark  tone  by  locally  using 
the  throat,  the  common  tendency.  The  placing  of  the  bright  and  the  dark  tone  is  practically 
the  same.  In  the  bright  tone,  high  resonance  predominates,  the  result  of  happy  feeling  and 
expression.  In  the  dark  tone,  low  resonance  predominates, the  result  of  sad  feeling  and  ex- 
pression. But  color  should  never  be  the  result  of  local  influence.  It  must  be  automatic  and 
spontaneous.  This  is  the  most  difficult  problem  the  student  has  to  contend  with  in  the  study 
of  color  or  emotional  expression.  Emotional  color,  character  and  expression  must  be  induced 
and  never  compelled.  Sing  a  single  tone  with  Ah  or  Ha,  sing  a  bright,  happy  thought,  then  an 
emotional  expression  or  feeling,  not  sad,  then  a  sad  or  sombre  expression,  and  finally  a 
dramatic  tone. 

If  all  is  the  result  of  spntaneous  form  and  expression  of  the  inner, the  higher  nature,  the 
singer^s  sensation,  the  student  will  be  surprised  at  the  result  and  the  differences  in  color 
and  character  of  tone.  There  is  no  definite  knowledge  oj'  the  true  conditions  of  tone 
except  that  which  is  acquired  through  sensation.  Learn  to  use  only  the  emotional  power, 
the  third  power.  It  is  the  very  spirit  of  the  life  of  the  singer.  The  third  power  is  greater  than 
the  motor  power  and  the  controlling  force  combined  for  through  it,  when  properly  applied, 
all  the  forces  of  the  singer  are  brought  into  action  and  controlled  automatically. 


V. 


VOCAL  INSTRUCTOR 


49 


A  STUDY  OF  ASCENDING,  DESCENDING 
AND  THE  REVERSE  MOVEMENT 

Find  the  level  of  the  first  tone.  Move  freely  to  the  upper  tone  and  then  do  not  fail  to  move 
down  with  the  voice.  If  you  desire  to  open  and  fill  the  low  tone,  use  the  reverse  movement  on 
the  low  tone  only.  In  studying  this  exercise,  sometimes  use  Ya  Ha,  the  suspended  action  and 
stroke  as  per  Exercise  N9  8,page28.Sometimes  the  connected  stroke  on  Ah  or  the  legato 
movement  as  per  Exercise  N9  13,  page  38.  For  color  and  emotional  expression  as  before  de- 
scribed use  sentences,  examples  of  which  are  given  under  the  exercise. 


Exercise  NO  17 


i 


* 


i  ,j  iii.'i.^  -I 


tf 


rt 


i'j  ^Jii"  'U^f^ 


Ah. 


Ya     ha. 


light     I  love  a  song 

emotional     I  love  my  love 

sad  My  love  is  gone 

dramatic    My  love  is  false 


^^ 


B 


U 


M 


3K 


^ 


^ 


^ 


-u 


xs 


^^m 


ii 


^m 


J-' itJ  im  f  JjT^   *  II 


^ 


t 


B^^^!^     w  J 


J  i>i4 


SE 


^3t 


s 


rt 


» 


XE 


-^h- 


zsc 


;o 


VOCAL  INSTRUCTOR 


^ 


te 


^^ 


tf>,     p 


m: 


ii^feS 


^ 


^^^^ 


^ 


g^ 


^^ 


^^k 


ir — ?; 


fe 


>^ 


i^ 


H^ 


g — tip 


S5 


-«>- 


P^ 


a 


^ 


^ 


O" 


^ 


tf A  ^ 


^^ 


k  iil'i.M^ 


^ 


s^s^ 


IE 


^ 


s 


HE 


g^e 


^ 


#^ 


^ 


^ 


ate 


1-4 


^ 


s 


-^ 


fe£ 


i^ 


"CT" 


-^ 


i 


't  H'i>r 


ifq#g= 


Efc 


^ 


^^iM?^^ 


4m 


tf 


^ 


Sfc| 


yr^ 


t  ^ 


S 


■^►- 


^ 


3SI 


VOCAL  INSTRUCTOR 


51 


A  STUDY  OF  THE  PORTAMENTO 

Sing  with  Ah,  also  with  words  first  study.  Use  tlie  third  power.  Bring  into  action  all  the 
forces.  Give  the  tone  meaning,  color  and  character.  Remember  the  arch  of  the  portamento 
is  out  or  up  and  over,  an  important  point.  When  under,  it  is  simply  a  slur. 


A  FURTHER  STUDY  OF  PORTAMENTO 
SECOND  STUDY 

Following  instructions  given  for  first  study  in  ascending,  in  descending  care  must  be 
taken  to  get  the  level  of  the  first  tone.  Then  move  down  with  the  voice,  carrying  the  voice 
entirely  with  the  body  and  thus  leave  the  throat  absolutely  open  and  free.  Also  use  vowel 
groups  as  follows:  Lo -La  -  Loo -Le  -  Lah,  etc.  Sing  in  chant  form.  Portamento  on  Lah  to 
the  upper  tone  and,  without  stopping  the  voice,  repeat  the  group.  Also  reverse  this  by  be- 
ginning on  the  upper  tone  and  ending  on  the  low  tone.  Sing  sentences  in  the  same  way, 
making  the  portamento  on  some  open  vowel  word  near  the  middle  of  the  sentence.In  ascend- 
ing and  on  all  reverse  movements,  remember  elongation  is  musical  form, but  induce  it, nev- 
er locally  compel  it. 


Exercise  NQ  18 


1st  study 


2d  Study 


'^h  j^^' 


— 4^%^ 


^^ 


A 


r\ 


i 


r\ 


r^ 


P^^ 


^ 


o 


P^ 


m 


«A 


mz 


rt 


lOZ 


s 


y^*.**Z: 


u 


W 


^?=^ 
>-<■»- 


^ 


-^ 


w 


m 


a 


n 


w 


w 


^ 


$ 


^^ 


53 


VOCAL  INSTRUCTOR 


t 


r\ 


r\ 


9 1>  L  rJ  —7--^^^ 


.-^ 


i 


/C\ 


i* 


/O 


/C\ 


1^ 


^^^ 


i 


fe 


i=: 


w* — ^^ 


s: 


^ 


-^ 


-o- 


i 


s^i 


8^ 


W 


W 


m*y' 


^^ 


^J 


w 


m 


s 


zbnz 


M 


Jnc 


^ 


J«- 


^ 


^ 


-o- 


lA 


/C\ 


/C\ 


'f tf  p  r-y  I  (' 


Vfj — ^==F 


^ 


p^s^ 


i 


^ 


lA 


A 


/T\ 


p  rr>iri 


SE 


feE^ 


^ 


^ 


lA^ 


IS 


pz^: 


-^ 


^^ 


ii 


TT" 


S 


M 


m 


^ 


S 


S 


^ 


# 


S 


ft 


to= 


^ 


nn 


ho- 


"X»~ 


i 


/r\ 


te 


r\ 


^m^ 


m 


r\ 


^ 


j2_ 


/?\ 


^^^ 


^ 


o 


«> 


^^ 


iS   ..  #  o 


^ 


o 


I^ 


^3: 


k- 


J222Z 


^ 


s 


^^ 


ft^ 


^-^ 


mc 


-^ 


zSz 


2q_ 


^ 


VOCAL  INSTRUCTOR 


53 


A  STUDY  OF  FREE  FORM  AND  ACTION 
IN  ASCENDING 

Use  the  syllable  Lah  on  Exercise  15,  page  42  second  study.  Sing  with  free  movement  and 
emotional  impulse  in  ascending  and  repeat  the  last  syllable  with  enthusiasm.Sing  in  various 
degrees  of  power. 

A  STUDY  OF  THE  HARMONIC  AND  DRAMATIC  TONE 

Sing  a  single  tone  somewhat  above  the  middle  of  the  compass  of  the  voice.  The  harmonic  is 
softer  than  the  soft  tone.  A  tone  without  pressure  or  resistance;  a  tone  which  requires  the 
full  position  and  form  of  a  loud  tone  and  more  conscious  strength  of  the  motor  power  in 
order  to  give  it  form  and  adjustment  and  absolute  freedom.  This  is  a  very  valuable  study.  It 
gives  the  student  the  sensation  of  the  freedom  of  the  true  artistic  tone.  Remember  that  at 
least  seventy  five  per  cent  of  the  strength  used  in  producing  and  sustaining  tone  is  expended 
in  inducing  right  adjustment  and  true  conditions. When  the  conditions  are  right, the  tone  re- 
quires very  little  strength  to  support  it. 

The  dramatic  fei^n  or  tone  combines  th«  atWed  resonance  of  all  high  and  low  cavities.  It 
should  be  sung  entirely  with  dramatic,  emotional  power  and  expression  and  never  with  undue 
effort,  push  or  physical  strain  so  often  resorted  to. 

When  the  harmonic  and  dramatic  tone  are  understood, then  study  the  swell,with  the  sensation 
of  the  third  power  only  and  note  the  result. 

A  STUDY  OF  ACTION  AND  THE  LEVEL  OF  TONE 
THROUGH  APPLIED  MOVEMENT 

study  this  exercise  on  slow,  sustained,  legato  movement  with  Ah, afterwards  with  other  vowels 
and  sentences.  Care  must  be  taken  in  moving  from  the  fifth  to  the  third  above  to  find  through 
the  movement  the  level  of  the  upper  tone, the  important  interval. Afterwards  sing  the  various 
degrees  of  power.  Always  avoid  the  tendency  to  push  the  chin  up  and  out  in  ascending.  Also 
study  th3  swell,  moving  up  softly  and  making  the  crescendo  and  the  diminuendo  on  the  upper 
tone  and  then,  without  stopping  the  voice,  portamento  to  the  last  tone  by  using  the  reverse 
movement.  Use  the  hands  and  trust  the  movement. 


Exercise  N9  19 

Legato 


i      i     \m' 


to 


J    i    i 


^ 


-a~i 


w^^ 


^^ 


^ 


p^ 


^=s 


c:pr 


TT^ 


'W- 


f  f  r 


W 


^ 


i^ 


ite 


^ 


"•Ti 


^19- 


i 


J    i    i    ll^"^' 


fefe 


P 


SE^ 


f 


^ 


^ 


TTT 


i 


rrr 


wt 


^ 


54 


VOCAL  INSTRUCTOR 


iEE^ 


w 


W 


mm 


i 


W 


Tf~J' 


rfri 


rrr 


rrr 


^m 


=r 


:3 


r 


# S-s- 


^1^ 


-<s— 


m 


ISi^ 


as* 


EtEE* 


t 


i 


i 


3 


a^^ 


^ 


Tt^ 


Ff^ 


f=r=^ 


» 


^ 


^5 


^ 


^^H 


f    j^    M 


^ 


fct=* 


li^i 


^ 


i 


^^ 


^^^^^TTT 


?^ 


^ 


^^^^P^ 


^ 


^ 


-fi-^ 


^ 


...ZT' 


i 


3Pa« 


*& 


^  M|i-r  Jr  ll 


m^ 


^^ 


^m 


I.  1     I  s 


i^*J! 


si 


J. 


eB 


^^^ 


S 


^ 


i 


^f^ 


^^ 


? 


lE 


?Pi 


i 


eSe 


3EiE 


VOCAL  INSTRUCTOR 


55 


A  STUDY  OF  IMPULSE  AND  APPLIED 
FLEXIBLE  MOVEMENT 

Sing  quickly  witli  free,  clear,  bright  tones  on  Ah,  afterwards  other  vowels. Sing  spontaneously 
with  enthusiasm.  Feel  the  third  power  only. 


Exercise  NQ  30 

Light  atid  quick 


i?fe 


fe^5 


5^5 


g=^^ 


t 


^ 


m 


^^^a 


wp^ 


^ 


^-«— ^^afc^ 


P 


•  J-'* 


ti^r^rt 


^J-^ 


y^l"Jf=^ 


s 


not 


\?—* 


=s^ 


1* 


rftf: 


i 


^^ 


<  j'jj'^V'^ 


I^^S 


iN^ 


?^ 


acriM 


** 


^s 


^^ 


IJ=P 


^ 


^ 


^^ 


i^^5 


^^T^ 


^^^Mf^ 


p-'- 


t^^^ 


^-^ — rP- 


P^ 


r^  ^ii^i  J-  v^^ 


5^5 


|C=5)t 


^ 


i^^S 


#%^M^j^^ 


^^ 


»«=» 


* 


a^ 


-»-^ 


P 


i 


56 


VOCAL  INSTRUCTOR 


<&^\K  JMJ'fT^ 


*ili'hJ''fJ' 


E 


B^ 


4-^''i'^  JuJ'F  h 


m 


^^ 


te0 


g^ 


^^ 


f 


^ 


•  •    ,  • 


^ 


^ 


''  F  •i''p  f'  p  P 


te 


p*p^ 


^•1'  p  J'p  P  F  P 


^ 


iMfqlpfr 


ite 


^ 


fffa^^ 


^*^i^ 


ty-ii.,   .. 


^ 


I*' 


ft 


4; 


l:]l»^~j»-' 


^ 


5^ 


i 


#! ^ 


fe^ 


M 


£PE2 


I'^y-  F  F  P '-  p 


;t 


»  .ijg 


^i 


-• •- 


m 


^ 


1^ 


* — 1«- 


=£ 


l^"l^''PppPp 


^tfct* 


^^ 


•9-' 


l>*r 


3ZC 


^ 


VOCAL  INSTRUCTOR, 


57 


A  STUDY  OF  PLACING  AND  OF  EQUALIZING 

THE  REGISTERS 

Sing  Ya  Ha  strictly  staccato  ascending  and  a  pulsated  scale  descending.  Sing  very  softly, 
sometimes  with  the  harmonic.  Carry  the  color  and  quality  of  the  head  tones  down  into  the 
medium  voice  and  the  medium  down  into  the  chest  voice.  This  is  especially  valuable  for 
tenors  who  experience  trouble  in  placing  the  high  tone  up  and  over  and  whose  middle  and  low 
tones  are  inclined  to  be  coarse.  Good  study  for  any  voice  inclined  to  push  up  the  transitions 
of  the  registers.  Sopranos  should  sometimes  sing  this  exercise  quickly  with  brilliant  tone. 

Exercise  N?  M 

Staccato  and  very  softly 


p-ii  ppP^'ll^PFPFpIr  ^ »  '  |¥4pff^FFppp|J  .  t  . 


ft#f^ 


m 


^ 


fe^ 


^ 


^ 


g 


w 


m 


^ 


m 


E 


i 


^m 


m^ 


f :    W 

r        l;g- 


Szz^ 


J^pP^  iPPDpppU  V*  vi'i'rCiriPPpppJiJv  ^ 


^m 


riPCBffH 


^s 


"■b.ffr'iCBBw.jiijL.i'i,  ilJj 


^^ 


Ep? 


P 


*-^* 


-^-f^-^ 


f^ 


¥=« 


^^^ 


M 


Aiii'ppripppppj> 


JJv.riFPnrrJ^ 


7  jt    y    ^ 


y  j^  7 


te 


^T=f=R 


^ 


5^ 


^ 


^ 


nf^ 


^ 


^^-^ 


3C1J      * 


K* 


^^ 


•^:  -fi 


*=S 


n 


-#= ' — 


^ 


58 


VOCAL  INSTRUCTOR 


0=i^f'Tm^m-^ ,  II  j],  j,j,-  f •  H^jij>i  J  ^j_. 


g^5 


3 


^^ 


^ 


tgi^ 


P 


I 


Vti: 


ffi 


^^=4t 


^ 


^>-    II  Ki, 


^*^-^J^i=^'j>ij  r  r7  p'-i.^  jJ-Jy-  I  pfJ■JJ^;llJ^ 


ES 


h>i  kiJv  I  «.jih 


^^ 


n>  I,  hJw 


^ 


Pip 


^ 


^f^ 


^^ 


Ttf"-~ 


P 


^ 


tte 


aig; 


~rrf^ 


» 


^ 


'     .     h: 


^^ 


*A 


j-7-^-v||¥'i|tjjjY-|J'J''j>jj,j,|^7^7i 


p^g? 


^jFFn^^?=F^ 


I    iiJ'^'T'  I  ^'J'J-'^ 


?W? 


*Aif ,  ijJ- 1  Jyi 


spa 


*335^ 


f 


7  j^   7 


VOCAL  INSTRUCTOR 


59 


A  STUDY  OF  MOVEMENT  AND  THE  CLIMAX 

Sing  with  a  free  movement  and  bring  the  voice  out  with  a  ringing  climax  on  the  fifth  a- 
bove.  Care  must  be  taken  not  to  push  the  voice  on  the  highest  tone.  Remember  all  tone  is 
developed  from  above  down  through  a  condition  of  equal  pressure  and  resistance. 


Exercise  NQ  33 


^'')i  J,   j,   i^^ 


seeeSe 


^;,    j,    j,^^^ 


P 


«E 


m 


i 


M 


^ 


^ 


^^ 


•/if 


f  i     f 


-g*'"^  j'^j 


EKiS 


f?^ 


:^ 


i^'i>y  iw.i,j  J' 


i 


:±^ 


^ 


^ 


P 


»=fc 


fF^ 


*  ^'» 


Nv^i'   J.      f 


gi= 


^ 


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61 


The  Fifth  Principle 

AUTOMATIC  ARTICULATION 

Theory.  Articulation  must  be  spontaneous  and  automatic, the  result  of  thought  and 
feeling  and  never  of  conscious  local  effort. 

Devices.  A  study  of  the  three  points  or  places  of  articulation  through  the  use  of  the  con- 
sonantal sounds,  words  and  sentences. 
There  are  three  points  or  places  of  articulation. 

/'irst.-  The  point  of  contact  of  the  base  or  back  of  the  tongue  and  of  the  soft  palate. 
Second.-The  contact  of  the  tip  of  the  tongue  and  of  the  hard  palate, the  roof  of  the  mouth. 
Third.-  The  contact  of  the  lips  or  of  the  lower  lip  and  the  teeth. 

In  order  to  simplify  this  study, we  arrange  the  consonantal  sounds  under  two  heads  only. 
First.-  Aspirates-  breath  sounds. 

Second.  -  Subvocals  -  sounds  with  an  undertone  more  or  less  vocal. 
Some  consonants  are  complete  obstructives  and  explosives.  Others  only  partial. 
We  also  arrange  the  consonants  under  three  columns,  first,  second  and  third  point  of  ar- 
ticulation. 

Aspirats  Subvocals 

C  B 

F  D 

H  G 

K  J 

P  L 

Q  M 

S  N 

T  R 

X  '  V 

W 
Y 
Z 


1st  Point  of  Articulation 

3d  Point  of  Articulation 

3d  Point  of  Articulation 

G 

C 

B 

J 

D 

F 

K 

H 

M. 

Q 

L 

P 

N 

V 

R 

w 

S 

Y 

T 

X 

Z 

68 


VOCAL  INSTRLCTOR 

This  study  is  very  important  and  yet  so  neglected.  This  system  is  scientific,  easily  ac  - 
quired  and  in  every  way  practical.  It  is  impossible  to  give  it  in  full  here,  therefore  we  refer 
the  student  to  The  Renaissance  of  the  Vocal  Art,  page  IH  and  Vocal  Reinforcement,  Arti- 
cle 18,  page  181. 

THE  VOWEL  SOUNDS 

All  students  of  the  singing  voice,  to  be  artistic,  must  know  and  understand  the  following 
general  principles  with  regard  to  a  right  use  of  the  vowel  sounds,  which  practically  means 
a  right  use  of  the  voice,  beautiful  singing. 

First.  -  Equalization  of  vowel  sounds. 

Second.  -  Covered  tone  or  voice. 

Third.-  Natural  points  or  places  of  covering  of  the  various  vowel  sounds. 

/'o///'M.- Tone  color  or  character. 

A  detailed  study  of  these  important  principles  may  be  found  in  Voeal  Reinforcement.  The 
third  as  given  above,  which  is  undoubtedly  the  most  important  of  a  11, lias  never,  to  my  knowl- 
edge, been  given  anywhere  else  in  print;  yet  the  successful  and  natural  transition  from  chest 
to  medium  or  head  voice,  especially  in  the  male  voice,  depends  almost  entirely  upon  a  knowl  - 
edge  of  the  natural  points  or  places  of  covering  the  various  Vowel  sounds.  If  this  great  prin  - 
ciple,  the  natural  transition  of  the  vowel  sounds,  were  better  understood,  there  would  not  be 
so  many  attempts  to  make  tenors  out  of  high  baritones  or  baritones  out  of  robust  tenors  as 
sometimes  happens. 

A  knowledge  of  the  principle  of  transition  and  color  of  the  vowels  is  the  key  to  the  success- 
ful classification  of  all  voices. 


